Living
Curating the canon
Feinstein keeps standards alive with passion for mid-century gems
Michael Feinstein concert
7 p.m. Sunday
Kennedy Center Concert Hall
presented by the Washington Performing Arts Society
Tickets $40-$75
202-785-9727 or wpas.org
Ol’ blue eyes is back. And Feinstein’s got him.
Michael Feinstein, that is, the multi-platinum selling, five-time Grammy nominee. The cabaret-style interpreter not only of Sinatra but also Cole Porter and Irving Berlin and Richard Rodgers, the composer famous for his work with two separate lyricists, Lorenz Hart and Oscar Hammerstein III.
And a raft of others — especially the Gershwins — in the canon of Americana’s classic popular music, a genre that Feinstein himself, at a youthful 54 (still slender and boyish and with a legendary million-dollar smile) has done so much to keep alive.
(Photo courtesy of Washington Performing Arts Society)
He’s been called “the ambassador of the great American songbook” and married his partner Terrence Flannery in a 2008 ceremony officiated by Judge Judy (Judith Sheindlin).
And he’s back keeping the Sinatra legend alive. It started on his 2009 album “Sinatra Project.” It will continue during his Sunday night concert at the Kennedy Center Concert Hall.
“I’m doing Sinatra for sure on Sunday,” Feinstein says. “But it’s reminiscence, not a copy, because its folly to copy him.”
The show will be “very high-energy,” says Feinstein, “with new big band arrangements, a tribute to Nelson Riddle,” the longtime American arranger and bandleader who worked with Sinatra as well as Judy Garland, Peggy Lee, Rosemary Clooney and so many other vocal stars of the mid-20th century. And it will be fllled, he says, “with anecdotes about Sinatra’s life and career, which lasted from his beginnings as a swing-era idol of “bobby-soxers” in the 1940s, through his Capitol Records albums like the legendary “In The Wee Small Hours” and “Only the Lonely,” and then the master of top 40 hits, and later his Rat Pack years with Dean Martin and other Hollywood B-listers in the “Ocean’s 11” film — a tribute to his long-time base as a headliner in Las Vegas clubs until his death in 1998.
Feinstein has famously taken a classic song, “We Kiss in a Shadow,” the weepy old chestnut from Rogers and Hammerstein’s “The King and I,” where two clandestine lovers yearn “for one smiling day to be free,” and rendered the ballad of exquisite sexual longing as an appeal for same-sex marriage rights. He sings it in a duet sung, gazing into each other’s eyes — with Cheyenne Jackson, also gay, the 35-year-old heart-throb from the 2007 Broadway musical “Xanadu” and the Elvis Presley sound-alike on stage in 2005 in “All Shook Up.”
Feinstein and Jackson, also a series regular in both Fox’s “Glee” and NBC’s “30 Rock,” performed together in the show “The Power of Two,” in 2009 at Feinstein’s at Loews Regency on New York City’s swanky East Side.
Though they each have their own partners, Feinstein and Jackson elicit sparks when duetting.
At one point, during “We Kiss in a Shadow,” they turn to each other and exult, singing together “behold and believe what you see.” And audiences did. Timed for the debate in New York State over marriage equality, Feinstein and Jackson were sending a powerful message to the uber-powerful folk who saw their show, but they did it with badinage and playful patter, realizing that if you want to “send a message, call Western Union,” don’t put on a show.
In that same show, light of heart and packed with so much pizzazz, the two of them, each with matinee-idol looks and dressed dapperly in matching black suits, white shirts and black ties, the two shared the spotlight with buddy songs like “I’m Nothing Without You,” from the show “City of Angels.” But in solos Feinstein brought his own low-melting-temperature vibrato to Cole Porter’s “So In Love” from “Can Can,” and also threw in some hilarious impersonations, mimicing Paul Lynde and Carol Channing. He also sat at the piano and crooned another anthem, this one written directly to advocate for LGBT rights, Marshall Barer’s and Mickey Leonard’s “The Time Has Come,” written as a response to the Stonewall riot.
Feinstein’s roots are, of course, in cabaret, that musical genre that mixes Tin Pan Alley with Broadway show tunes and also the ambience of Weimar Republic gay-friendly precincts of Berlin’s “kabarett” in the 1920s. As Feinstein sees it, “American Idol’s” former viper-tongued wicked-witch-judge Simon Cowell, is totally wrong-headed when he habitually denounces anything he thinks sounds old-fashioned as “cabaret.”
Where did it all begin for Feinstein, this passion for the greatest American classic popular songs? In the American “middle-west” heartland of Columbus, Ohio, where he was born in 1956, the son of an amateur tap dancer (his mother) and a Sara Lee Corporation sales executive (his father). He credits his parents as “for exposing me to this music,” in a way he compares to the Suzuki method of teaching the young to play the violin by ear, “before they even know it’s music,” he says.
At age 5, he studied piano (still his instrument today) for several months with a teacher who sought in vain to get him to read sheet music and was angered when he didn’t since he was simply more comfortable playing by ear. His mother backed him up and took him out of lessons allowing him to learn to love music in his own way. By his teenage years, he says, “I had already diverged from my age group in taste.” When his sister listened to Carole King’s album “Tapestry,” he says that he was collecting 78s. As for the Beatles, he says he is not overly impressed. Ge calls “Yesterday,” for instance, “a great melody, but it’s a bad lyric, maudlin at best, a good song wasted.”
After finishing high school, he worked in local piano bars for two years and then moved to Los Angeles when he was 20. There he soon met June Levant, widow of the legendary concert pianist-actor Oscar Levant, and through her he was introduced to Ira Gershwin, who hired young Feinstein to catalogue his extensive collection of phonograph records. This assignment led to a six-year assignment working at Gershwin’s Beverly Hill home, preserving the legacy not only of Ira but also that of his composer brother George, who had died four decades earlier. From there he got to Gershwin’s next-door neighbor, singer Rosemary Clooney, with whom Feinstein formed a close relationship lasting until her death in 2002.
In 1986, Feinstein recorded his first CD, “Pure Gershwin,” followed soon by “Remember,” featuring the music of Irving Berlin” and later he embarked on his ambitious “songbook project,” where he would perform the music of a featured composer — such as Jule Styne and Jerry Herman — accompanied by the composer. Later, he would record two other albums of Gershwin’s music, “Nice Work If You Can Get It” and “Michael and George.”
“I’ve spent my life immersed in this music,” he says of all these composers and lyricists and their songs standards, “out of love for it, not even thinking about a career.” These songs are, he says, “are still pertinent to our times.” He wants “to keep the music alive for other generations,” a project that took major form in January when the Feinstein Foundation-funded $150-million Center for the Performing Arts, where he is artistic director, opened in Carmel, Ind. The complex includes a 1,600-seat concert hall plus smaller venues and houses his Foundation for the Preservation of the Great American Songbook, including also a library and archives storing his and other collections of rare recordings, orchestrations, sheet music and other cultural artifacts about songs.
Today, he is the owner of the Manhattan nightclub, Feinstein’s at the Regency, a showcase for cabaret performers, where he performs himself in sold-out shows every Christmas. He also has an interest in Feinstein’s at the Shaw, in London. Recently he completed a six-part Warner Home Video series for television that depicts the history of the American popular song through 1960. He is also finishing a book about Gershwin’s music as well as working with producer Marc Platt (“Wicked”) on a movie project about the composer’s life. And on top of all that, he directs a newly launched pop music series at Jazz at Lincoln Center in New York City, where he and his partner live (they have a second home in Los Angeles).
Next up, either this autumn or maybe early next year will be an updated version of his PBS series, “Michael Feinstein’s All American Songbook,” which aired on the network last fall. He says they are now filming three more segments which will be broadcast with the first three and linked to a new and growing website available at no charge which the show’s executive producer and historian Ken Bloom has called “the ultimate companion for the documentary” and “a guide for the 21st century.” He calls it a “goldmine” where browsers can click on any song or performer for further information, plus audio and video links to their work.
For the past two years, Feinstein himself has also sponsored through his foundation the Great American Songbook High School Academy and Competition, a master class and contest for teenagers in seven midwestern states — in events attracting hundreds of entries. The winner gets a free trip to New York City and an opportunity to sing at his nightclub there.
For Feinstein one thing is clear. This music will thrive, he says, “because it never went away.”
For more info on Feinstein and his many recordings and diverse projects, go here.
The latest Honda Civic hatchback and Subaru Impreza are two of the segment’s stars. Both offer sensible pricing, excellent utility and enough personality to avoid feeling like appliances.
The Civic is more polished. The Impreza, more rugged. Luckily, neither is trying to be obnoxiously flashy.
HONDA CIVIC
$28,000
MPG: 30 city/38 highway
0 to 60 mph: 8.9 seconds
Cargo space: 24.5 cu. ft.
PROS: Fuel efficient. Spacious cargo area. Good resale value.
CONS: No all-wheel drive. Fussy infotainment. Low rear headroom.
WHAT’S NEW: Only minor updates for 2026. The biggest change carries over from last year’s refresh: the addition of the hybrid, which has become a star performer.
The Honda Civic hatchback won’t scream for attention. It won’t arrive wearing sequins and carrying a smoke machine. It’s more like Nomi Marks from “Sense8”: intelligent, sophisticated and impressively capable.
The styling remains handsome and clean. Long hood. Low roofline. Crisp lines everywhere.Honda resisted the urge to make this vehicle look like a spaceship or an angry robot. That’s refreshing.
Inside, the dashboard is simple and elegant. The honeycomb air-vent treatment remains one of the coolest interior details in the segment. Materials feel expensive. Controls are easy to understand. And visibility is excellent.
I love how the cargo space is generous, with rear seats that fold flat. A bicycle, several suitcases or enough supplies for an ambitious weekend road trip fit without much hassle.
Then there’s the hybrid. The system produces a healthy amount of power while delivering fuel economy that borders on the absurd. Around town, handling feels smooth, quiet and surprisingly quick. You almost glide through traffic. The standard gasoline engine isn’t bad, but the hybrid is stellar.
The Civic also shines on twisty roads. Steering is precise. Body motions stay controlled. The suspension strikes a sweet balance between comfort and sportiness.
Biggest weakness? No all-wheel drive. For drivers in snowy climates, that’s not so good.
Still, the Civic’s stellar combination of efficiency, quality, and driving enjoyment remains incredibly hard to beat.
SUBARU IMPREZA
$27,000
MPG: 27 city/33 highway
0 to 60 mph: 8.5 seconds
Cargo space: 20.4 cubic feet
PROS: All-wheel drive. User-friendly tech. Safety cred.
CONS: No hybrid version. Some road noise. Modest cargo room.
WHAT’S NEW: The Impreza receives relatively minor updates for 2026. Subaru continues refining this hatchback rather than reinventing it.
If the Honda Civic is urbane, the Subaru Impreza is unfussy. There’s a kind of Kristen Stewart energy here. Cool without trying too hard.
The styling isn’t dramatic, but it works. This hauler appears ready to tackle rain, snow, dirt roads or an impromptu weekend escape.
And all-wheel drive comes standard on every Impreza. (Most competitors only offer front-wheel drive or include all-wheel drive as a pricey option.)
The result: Slippery roads simply don’t create much anxiety. The suspension absorbs bumps nicely. Long trips are comfortable. Visibility is great, thanks to relatively thin roof pillars and large windows.
I like how the cabin is functional rather than fancy. Materials don’t quite match the Civic’s upscale vibe, but everything feels sturdy. A large infotainment screen dominates the dashboard and generally works well, though some drivers may prefer more physical buttons.
Cargo space is respectable, and the design makes loading bulky items easy.
Performance depends heavily on trim. The base engine gets the job done, but nobody will confuse it for a sports car. The RS trim’s larger engine provides more power and makes the ride livelier. But even then, acceleration remains merely adequate.
The Impreza’s real appeal lies elsewhere, with a mix that few rivals can match: hatchback practicality, standard all-wheel drive, strong safety scores and reasonable pricing.
Perhaps that’s the key difference between these two hatchbacks. The Honda Civic impresses immediately. The Subaru Impreza grows on you.
Fortunately, choosing between them is less stressful than deciding who gets the last mimosa at brunch.
Real Estate
When buying a home, it’s decisions, decisions, decisions
Keeping notes on the process makes for an informed purchase
When looking to buy a home, there are lots of details to consider. Many of my clients would come to me and say, “Joe I want to buy a place, but I haven’t decided which neighborhood to buy in.” And the struggle was real. A few clients had everything decided from the color of the hallway walls to the cabinet handles and sometimes which three square blocks they wanted to look at.
But other clients were occasionally looking at properties in areas as distinct as Union Market/NOMA, Brookland, Logan Circle, and then we would even go across the river to look at a property in Shirlington or the Van Dorn areas of Virginia, which all have their own unique flavor and characteristics.
Sometimes clients would tell me, “I only want to look in Mount Pleasant or Adams Morgan.” Or, “don’t even show me any properties west of this street or south of that street.” My job wasn’t to convince people where to live. It was to just take the parameters they set for me and find as good of a property in that zone as I could, coordinate the showings and, if necessary, offer the strategy.
One can see that buyers often had more decisions to make than a seller. From a seller’s perspective, the house was where it was, and we just had to make the best of it. But working with a buyer could mean looking at five different neighborhoods, and then being a “thought partner” to help them figure out which were the top two or three areas they had seen, and then further distilling those down into what was available and weighing those options against each other.
One house could have the dream bathroom but also be located six blocks further from a Metro stop, walkable shopping and dining, and “just too far away from my friends.” Another house could have all the neighborhood options a client was looking for, but was just not in turnkey condition, and would require an additional $30,000 of upgrades once purchased to make it into the dream home they envisioned.
One activity I often asked buyers to do was to keep an active list in their heads of the properties they liked, and to keep a running rank of the top three. I often encouraged them to bring a notebook along on the journey where they could take notes and write down questions they thought of as they looked. It was an important decision, and sometimes the largest purchase of their lives. Why not take it a little seriously, and take notes? This could often help the buyer later when they felt it was time to decide.
The point here is, keeping a notebook handy can sometimes help a person with what feels like an overwhelming process. It provides a space to explore how one feels, jot down important details to remember, and then use that to make an informed decision.
Joseph Hudson is a referral agent with RLAH. Reach him at 703-587-0597 or [email protected].
Real Estate
Under-the-radar Delaware beach towns smart buyers are targeting
There are other options if Rehoboth prices are scaring you off
Look, we love Rehoboth. We will always love Rehoboth. Queer folks have been flocking there since the 1940s, and with scores of LGBTQ-owned businesses and a Pride calendar packed tighter than the boardwalk in July, “Rehomo” earned its crown fair and square.
But let’s be honest with each other: trying to buy property there right now feels a lot like trying to get a reservation at the one good restaurant in town on a Saturday in August. Everyone wants in, inventory is tighter than your swim trunks after Labor Day brunch, and the prices have officially entered “are you kidding me” territory.
So here’s a thought: What if you didn’t fight the crowd? What if, instead, you let Rehoboth keep doing its glorious, chaotic, glitter-bomb thing and you quietly built your beach life 15 minutes away for considerably less drama and considerably more square footage? Here are four towns ready for their close-up.
Lewes: The Charming Overachiever
Lewes is what happens when a beach town actually has its life together. Historic charm, walkability, proximity to Cape Henlopen State Park, less crowding, and a strong year-round community. Unlike towns that turn into ghost towns after Labor Day, Lewes maintains a real community all year long, which is more than we can say for some situationships.
And right now, the market is practically begging you to make a move. It’s one of the most desirable and stable markets in the county — built for buyers thinking long-term, not flippers, and Sussex County overall has flipped into genuine buyer’s market territory for the first time in years. Translation: you finally get to be the one with leverage.
Bethany Beach: My Personal Pick
Full disclosure: I own in Bethany. So consider this section a little biased — and also the most honest thing I’ll tell you in this whole article.
When I drive down from D.C., I’m not looking for more of D.C. I love this city, but I also love leaving it — and yes, some of the people in it too (you know who you are, and so do I). Bethany gives me that full exhale. It’s quiet in the way that actually means something: fewer crowds, slower mornings, a soundtrack that’s mostly waves instead of nightlife. It leans hard into its “quiet resort” reputation, with low property taxes and a limited geographic footprint, and it is not the least bit sorry about it.
But quiet doesn’t mean isolated. I’ve got a genuinely excellent food scene nearby, real shopping, and a string of charming neighboring beach towns — and when I do want a taste of Rehoboth’s energy, it’s a short, easy drive away. I get to choose my dose of chaos instead of living inside it.
And here’s the part that matters most for this article: the price. If you’ve looked at Rehoboth listings and quietly closed the tab in despair, I need you to hear this — you can absolutely afford a beach house. It just doesn’t have to be in Rehoboth. Bethany’s average home value sits around $848,592, which is still real money, no question — but it buys you more house, more land, and more peace than the same budget gets you closer to the boardwalk. Bethany is welcoming too, just without Rehoboth’s decades of built-in queer institutional history — and for plenty of us, that trade-off is more than worth it.
Fenwick Island: Small Town, Big Flex
Fenwick rarely gets mentioned and, frankly, it should be insulted. It’s tiny, it’s quiet, and it has beach access without the carnival energy. The market data tends to lump it in with Bethany, where single-family oceanfront homes clear $1 million while entry-level condos start in the $600s — proof that “under-the-radar” doesn’t mean “bargain bin,” it means “fewer people fighting you for it.”
South Bethany: For the Boat Gays
Some of us want sand between our toes. Others want a private dock and a boat named something deeply unserious. South Bethany’s canal communities are built for the latter — water access on both sides, fewer crowds, and a lifestyle that says, “I have a captain’s hat and I am not afraid to wear it.”
The Math Works in Your Favor Now
Here’s the part that should really get your attention: Sussex County’s median sold price has dropped to $440,000, down 3.3% year-over-year, and buyers are routinely closing around 88 cents on the dollar compared to asking price. That’s a far cry from the unhinged bidding wars of 2021 and 2022, when overpaying was basically a competitive sport. Inventory across the county sits at nearly 2,500 active listings — the most of any county in Delaware, meaning you actually get to be picky for once. Revolutionary, we know.
And no, choosing one of these towns doesn’t mean leaving your people behind. Sussex Pride serves the entire county, not just Rehoboth proper, and CAMP Rehoboth’s resources extend well beyond town limits too. You’re not exiling yourself to the suburbs of queerness — you’re just getting a bigger kitchen, a quieter porch, and a much shorter line for the bathroom.
Add in the fact that Delaware has no estate tax and some of the lowest property taxes around, savings that genuinely add up over a retirement horizon, and the case writes itself. Rehoboth will always be the beating, sequined heart of queer beach culture in Delaware. But if you’ve been telling yourself a beach house isn’t in the cards — I’m here to tell you it absolutely is. It just might be 15 minutes south, with your own quiet porch, your own salt air, and considerably more room to breathe.
Have a real estate question or Rehoboth market tip? Reach out to [email protected] for LGBTQ-friendly real estate resources in the Rehoboth area.
Justin Noble is a Realtor licensed in D.C., Maryland, and Delaware with Monument Sotheby’s International Realty. Reach him at [email protected] or 302-897-7499.
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