Welcome, Walter!

Hi everyone,

Walter exploring the yard

Our neighbor always feeds the outdoor cats that wander around his backyard. Every year, we see new black-and-white kittens bouncing in the grass.

Walter is one of them. One morning, he turned to his brothers and sisters, and said, "See ya later." And, without explanation, he set off on an adventure to travel the world. He was thinking of Egypt, Africa, and maybe Asia too.

But he only got as far as across the road, where he came to our big yard. He put down his suitcase on the step into our garage and exclaimed, "This is the life!"

Dad found him in the tree outside our backdoor. "I came from all the way over there," he told him, pointing to the next yard over. "It's too noisy and crowded," he said, as he waved to his relatives. "You only have one cat here, and I like the option of this indoor living space."

Dad checked with Tyrone, who rolled his eyes at the idea of a housemate. But he said that it was okay for Walter to stay as long as we didn't refer to them as The Odd Couple. Within days, Walter won him over completely because that's what Walter does with anyone. Now, they are practically brothers.

Walter does a lot of yoga and meditation throughout the day. He says that we need both in these troubled times. When he's not wrestling with Tyrone, he likes to leisurely explore this sunnier side of the street. In his new digs, he advisees mom on her iPad games, and he supervises Dad's stained glass art creations.

He and Tyrone are really into history. I hear them listening to inspirational speeches in the basement at night on all sorts of topics, from civil rights and politics to climate change and new solar technologies. They have intellectual conversations about them but stop talking when they hear us coming, as if it's a secret. I think they might be writing a book.

Walter in the basement with a friend

Walter loves all kinds of music, but especially jazz, reggae, and hip-hop. His musical heroes include all the old-school greats, like Bob Marley, Bill Withers, Stevie Wonder, L.L. Cool J, and Abbey Lincoln. But he keeps up with new music too, like Camila Cabello and Chance the Rapper. He's always plugged into his earphones, making playlists. He doesn't watch much TV, but he knows all about movies. His favorite actors are Sidney Poitier and Robert Downey, Jr. He is sure that he's going to join the Black Panther franchise someday.

Walter is also a great dancer! He keeps trying to get Tyrone to join him in a daily routine, inspired by West Side Story – to keep their joints flexible – but Tyrone just watches and yawns. "Someday, he's going to surprise me with a Irish jig," Walter says of his big brother. (Walter is a very optimistic kitty.) I see Tyrone crack a smile sometimes, so maybe he is actually considering it.

Walter was tiny when we met him. He's bigger now, as you will see in future posts.

Welcome to the family, Walter!

Sheila E. Brings on the Funk

Hi everyone,

This month, I saw Sheila E. at Howard Theatre. It was a lazy day, but I still was first to arrive. Howard Theatre's service was terrible, but I shared a table in the front row with nice people. We were all there for the music.

When the show started, it felt like I was on Speed, the rollercoaster in Las Vegas that took off at 45 miles an hour in 2 seconds. As the curtain rose, the band played an exhilarating, funky version of the national anthem, which ended with inspiring soundbites from great speakers, like Martin Luther King, Jr., and Barack Obama. The electric energy and excitement stayed this high for the next 90 minutes.

I can't find a setlist online to remind me of every song performed that night, but I'm not surprised. Once this show starts, you don't want to look away to write down song titles. Besides, I didn't even know all of the songs.

I know Sheila E. from her collaborations with Prince and her two big hits in the '80s, "Love Bazaar" and "The Glamorous Life." I remember Sheila E. because of these great songs, her amazing, entertaining drumming, and all the times she high-kicked her cymbals for punctuation.

She didn't kick any cymbals this time because she was barefoot. "I used to wear high heels all the time," she said. "But now I don't because...Because." All the ladies in the audience could relate!

For this show, Sheila wore a cool purple outfit with a sparkly sequin details. She looked royal in it with her long wavy hair.

I want to be this vibrant and beautiful at 61, please. I've got to get into shape!

Sheila's tribute to Prince, which I think we were all hoping for, was a medley of classics that included "Baby I'm a Star" and the guitar solo from "Purple Rain," which she ended in a dramatic pose, holding up her guitar. Afterward, someone next to me yelled out a request for "Koo Koo," such an old song in her catalogue that she laughed, "That dries my tears. Who said that?" She played it, even though she had to jog her memory for the lyrics.

Sheila and her fantastic bandmates were all so friendly with the crowd. Sheila was thrilled to see so many hands raised when she asked who was seeing her for the first time. She talking to and hugged some people, invited others onstage to dance, and at one point, walked around our tables with a microphone and guitar to sing among us.

When she spoke, it was mostly about the unifying and healing power of music. She said she's sick of what she sees on TV and that only love will conquer all the divisiveness in the world. She told us to find a nearby stranger to hug, so we did. It was that kind of show, full of positive energy that could change your life. Thanks, Sheila E. I needed that!

Sheila E.'s performances were so energetic, I found myself recording what can't be captured in photos alone. Here are some great moments from the show. (I rarely record videos on my phone, so forgive the portrait orientation that, in my delirium, I didn't think to change to landscape.)

Here's just a little taste of The Queen of Percussion...

Sheila played a lot on that little drum set and even kept the beats going by dragging the cymbals on wheels around the stage with her. Then, somewhere in the middle of the show, she moved over to the big drums, and a person behind me said, "Look out, people, it's about to get real!"

To cap off the show, she played "A Glamorous Life," the song we all wanted to hear. Everyone sang along. Do you remember the words too?

If Sheila E. is performing somewhere near you, go see her! It'll do you good.

P.S. The Kitties are returning! Look for new illustrations, coming in November!

Elvis Costello & the Imposters and Blondie

Seeing Elvis Costello & the Imposters and Blondie was a last-minute decision. I grew up listening and watching both, but I've only seen Elvis Costello live once, with The Attractions, years ago when they opened for Sting. Seeing Blondie would be a new experience, and it intrigued me. Still, inexplicably, neither did I keep up with the news of this incredible tour nor did I jump on it when I learned it was stopping by the Anthem in Southwest D.C. on July 26th.

Instead, on the day of the concert, I saw that – to my surprise – tickets were still available. By the end of my workday, instead of taking the nap that was tempting me, I went to the venue to weigh the pros and cons of the long line I expected to see. It shocked me that only five people were there when I arrived. I will take one general admission ticket, please! (Happy birthday to me!) I made it to the front and settled in for some magic.

Note to self: Next time, plan better with snacks and more comfortable shoes. Still, in my post-show glow, I determined that this was one of the best late Friday afternoon decisions I ever made.

I hoped that Debbie Harry and Elvis Costello might perform together at some point, but they didn't. This was a true double bill: Blondie played the first set, and Elvis Costello & the Imposters followed the intermission with the second set. Here are some highlights.

Blondie

The stage was set with three giant screens along the back wall. Before the band came out, the screens advertised Debbie Harry's upcoming memoir, Face It and had some interesting line drawings decorating the surrounding blank space. Throughout the show, the screens flashed artsy photos or just TV scramble. Everything was edgy, artistic, and very Blondie!

But, when Debbie Harry first appeared, I was shocked and disappointed. She wore sunglasses, a bulky sliver jacket, brick-sized platform shoes, and worst of all, an odd glittery jockey hat. It seemed like an old lady's ensemble built for covering up, and I couldn't see her. Eventually, she stripped all these layers off one by one to reveal her fresh face and a sleek and stylish outfit underneath, and she was the Debbie Harry I remembered. Phew! Toward the end, she covered up again with a flowing slivery gown, which seemed more fitting for this beautiful lady!

What she wore didn't matter, though; she still sounded amazing! No one even cared that they had to start Hanging on the Telephone a few times to get it right. "We're just having fun, right?" Debbie Harry said. "That's what this tour is all about!" Everyone screamed in agreement. (I actually like these kinds of mixups. It turns the rock stars into real people.)

I knew almost every song that Blondie performed word for word and sang and danced along the entire time. I didn't realize how many songs I loved and had memorized. Aside from Hanging on the Telephone, they played other classics like One Way or Another, Call Me,  and Atomic. During Heart of Glass, they mixed in a bit of I Feel Love by Donna Summer, and during The Tide is High, they slipped into Grove is in the Heart by Deee-Lite, which I thought was a perfect song for Blondie to cover. They also covered Old Town Road by Lil Nas X, which I really liked. And, when they played Rapture, I nearly lost my mind! (Debbie Harry told us that the producers advised against the release of this "controversial" song. After all, it included rapping! Who's going to like or get it? "Shows what they know," she said. I think it turned out alright.)

Blondie kicked off their encore with a sultry version of From Russia with Love and sent a subtle message by flashing the presidential seal on the screens behind them. And, just as I had wished for, they ended their set with Dreaming! My night was complete.

But it wasn't! Going into the intermission, it occurred to me that this already fantastic concert was only half over!

Intermission
As the lights came on, the speakers blared Kids in America by Kim Wilde, and we were all so wound up from Blondie that we sang along and danced around to that too. During the intermission, the screens switched from advertising Debbie Harry's book to advertising Elvis Costello's latest album, Look Now.

Meanwhile, roadies switched out the instruments for the next band, which included some unexpected drama! We all watched them fussing over Elvis Costello's pedal board. Three guys were involved, one turning the knobs on the pedal board, one testing out the guitar, and one running around to relay messages to managers. Eventually, one of them unhooked and ran off stage with the pedal board. As he did so, those of us watching groaned, feeling sorry for their predicament. When he returned, running with a new pedal board, we cheered. They tested this new one out for a while longer. The third guy now had a flashlight because the lights had gone down, the music had relooped, and we all sang and danced along to Kim Wilde again. When the guy gave up on the replacement pedal board and ran with it off stage again, we groaned again too, but now with worry that they show may never go on.

But it did! After the set had started, the guy ran back out on stage with the pedal board in hand, ready to try again, but Elvis waved him away, saying, "Leave it. Just leave it. It's fine," he said and explained to us: "We started a little late tonight because we had a little problem with the pedal board, but I told them it didn't matter. Just make it loud!"

Elvis Costello & The Imposters

I must admit that I don't have Elvis Costello lyrics memorized as well as Blondie's, but I still love the music because I love Elvis Costello! I first fell for Elvis when he came out with the song called Veronica. I bought a cassette tape of Spike (in a record store bargain bin), which has that song on it, and I loved every song on that album.

I've also seen Elvis Costello around everywhere over the years, so I know a lot of his classic songs. My sister and I sang along with him when he was touring with Sting. I also saw him on music shows, doing collaborations with Burt Bacharach, T Bone Burnett, and others. I saw him on an episode of Frasier, and I remember when he filled in for David Letterman hosting The Late Show. He always said interesting, funny things on talk shows too. I binge-watched his own talk show, called Spectacle, in which he interviewed and played with his peers. I also read his wonderful memoir, Unfaithful Music & Disappearing Ink. This time around, Elvis was the main attraction for me.

Elvis wore a cool three-piece suit, looking very British. He later took his coat off and added a bright red hat. Toward the end, he added a sparkly coat that I wanted. 

 

This set was sprinkled with music from Elvis Costello's entire catalog. Everyone went bonkers as the classics kept coming. Pump It Up kicked things off, and it only got better from there. Some of my favorites were Accidents Will Happen, Beyond Belief, Watching the Detectives, So Like Candy, I Can't Stand Up for Falling Down, Every Day I Write the Book, Alison, and the gem of the encore, (What's so Funny 'Bout) Peace, Love, and Understanding. As each song played, the screens behind the band displayed images or messages related to the song lyrics (like "Thou shall not kill" during Peace, Love, and Understanding) as well as old photos and album covers from the band's lengthy catalog and storied past.

Unlike Blondie, which seemed to play hit after hit, Elvis Costello & the Imposters switched things up every once in a while. Sometimes, Elvis played a slower tune at the piano or moved the two fantastic backup vocalists, Kitten Karoi and Briana Lee, up front with him to perform together. Maybe this set felt different to me because I wasn't familiar with every song or because Elvis Costello has a bigger song catalog from which to choose. Or, maybe all the songs they played are hits, and I just don't know it! In any case, I appreciated all of it.

              

As usual, Elvis Costello was full of jokes or interesting thoughts between songs. These anecdotes often end up being my favorite parts of any appearance. For example, he tried to decide which song to play that would best fit today's political climate. He mentioned several contenders, including Beyond Belief, but I think Accidents Will Happen was the winner. He also brought up Elvis Presley for no apparent reason, saying that if he had lived longer, he would have had massive hits with covers of Duran Duran's Rio and Blondie's Heart of Glass – and he performed a bit of both with a good Elvis impression.

I felt so lucky to see both Blondie and Elvis Costello & The Imposters together on the same night! (Here's a little gallery of professional photos of Blondie and Elvis Costello & the Imposters from the show to make up for my blurry results.)

Everyone left the Anthem in a deliriously happy haze. It may have taken me two full days to recover, but Elvis Costello and Blondie only get better with age!

Hugh Was Here!

Even though it was walking distance from my apartment, I didn't buy a ticket to see Hugh Jackman: The Man, the Music, the Show at Capitol One Arena right away. I couldn't imagine what it'd be like to see Hugh Jackman in an arena instead of a theatre or movie. But as the date approached, my heart beat faster and I checked for tickets. By then, most tickets were being resold at ridiculous prices, and I couldn't talk myself into buying one since I was suddenly unemployed and depressed. But I told myself to buy a ticket if I had a new job by the time this show came to DC: July 1 was my new job search target deadline.

Hugh Jackman must have heard my plan and made it happen. I started a new job on June 17, and I remembered my promise two days before showtime. "Oooh, I have a seat in Row B, section 121," the box office salesperson told me. (It's in one of the first sections of stadium seating on the right side of the stage, above the heads of everyone on the floor.) I'll take it!

I fell head over heels for Hugh Jackman after seeing him in The Boy from Oz on Broadway in 2003. I already knew him as "Wolverine" in the X-Men movies. When I heard that he sings and dances in this true-story musical about a gay Australian songwriter named Peter Allen, I couldn't imagine it and had to check it out. I called my Dad from New York the day after seeing it and exclaimed that it was the best show I'd ever seen in my life. Over the course of its run on Broadway, I saw it three times and, of course, Hugh inspired some Kitties. As usual, I also immersed myself in my new obsession, watching and learning everything I could find about Hugh Jackman. So, I'm not sure why attending this new show starring Hugh Jackman in 2019 was even in question.

The Stage is Set. 

Once I bought my ticket, my Hugh Jackman fandom returned in full force. Work hours couldn't go by fast enough and getting stuck on the Metro because of a disabled train ahead made me consider walking back to DC from Virginia. (I didn't have to do that; it was just a 10-minute wait.) Once I got downtown, I worried when I saw the long lines inching into Capitol One Arena, but I made it to my seat with 15 minutes to spare.

The stage included a walkway that stretched into the middle of the floor seating and ended with a small circular platform. The place was pretty full and loud because a deejay was on the walkway spinning tunes and pumping up the crowd for some kind of spectacle. What was I in for? I felt better when I spotted a 12-piece orchestra – including stings horns, drums, and a grand piano – set up on the stage.

As the lights dimmed, the giant screens that flanked the stage lit up with a speedy montage of Hugh Jackman's movies. It reminded me that I've seen all of them and, oh yeah, this guy is amazing!

I was right that it would be weird to see Hugh Jackman doing a one-man show in a sports arena, but this was not that. The musicians, singers, and giant screens behind him made this a massive group celebration of song, dance, Australian roots, career milestones, and an overall extraordinary life.

The anticipation builds.... 

It's Showtime!

Act I

Hugh Jackman opened the show, singing the The Greatest Showman and followed that with Come Alive – two songs from The Greatest Showman, the 2017 movie musical in which he played P.T Barnum. On my way home from the concert, I overheard two girls and a guy discussing this event. One girl commented, "I was thoroughly entertained, like, the entire time." The other girl said, "I had no idea he could do all that! I mean, I think I might have seen half of an X-Men movie once." Apparently, some people paid big bucks to attend this show based on this one recent movie role.

After the two opening tunes, Hugh talked to us! He talked about his love of numbers and how he remembers random phone numbers and addresses from his past. (Just like my Dad, I thought!) He even rambled some memorized numbers off to us. He admitted that he turned 50 years old this year and did a high-kick impression of Sally O'Malley. He also told us that he's one of those annoying people who leaves concerts early – when there are about two songs to go – to get the car out of the garage before the traffic jams. He gave us permission to do the same tonight.

This tour is a giant production!

He explained his start in musicals, as Gaston in the 1995 Australian stage production of Beauty and the Beast and sang his character's song, Gaston, in character but not a candlestick costume. Then, he talked about meeting his wife, Deborra-Lee Furness, that same year, when they acted together in an Australian made-for-TV drama called Correlli. With a montage of photos of her and their family scrolling behind him, he sang, All the Way – the song that they played for their first dance as husband and wife.

Next, he admitted to having an Olivia Newton-John poster in his bedroom during the "Let's get physical!" era. This anecdote led into him singing a speedy version of I've Been Everywhere by Australian country singer Goeff Mack. He rattling off lyrics without any cue cards or cheat sheets, and it was a impressive workout.

Then, he walked over to the piano, saying he was going to play it! "I think three years of piano in high school qualifies you to play arenas," he quipped as he sat down. He played and sang, You Will Be Found – a song from the Tony-award winning musical Dear Evan Hansen. (Hugh Jackman wasn't in this show but the music was written by the same people who wrote the music for The Greatest Showman, Benji Pasek and Justin Paul.) He performed this together with DC's own 18th Street Singers. I loved that he enlisted some locals, and the song was so moving!

Afterward, Hugh talked about how his dad always worked, every day without fail, at Price Waterhouse. That is, until he took three days off to walk Hugh to the stage door at Carnegie Hall, where he was participating in a charity event. Although it was semi-casual event, his dad showed up in full back tie to escort his son to the door because, to him, it was that important. So, the next song, Soliloquy from the Rogers and Hammerstein musical Carousel, was performed in his dad's honor.

Carnegie Hall is one of the world's best venues!

Next was a rousing rendition of This is Me from The Greatest Showman, sung with background vocalist Jenna Lee James and accompanied by eight dancers. That was pretty good, but then they topped off the first act with a medley of three songs from Les Miserables. (Hugh starred as Jean Valjean in the fantastic movie musical version of Les Miserables in 2012.) He performed Valjean's Soliloquy, I Dreamed a Dream, and One Day More with additional singers (both background vocalists Jenna Lee James and Kayleigh McKnight as well as the 18th Street Singers), filling the arena with these classic songs while swirling giant flags along the walkway. It left me teary-eyed!

A selection from Les Miserables capped off Act I. 

As the lights came on, a giant clock appeared on the stage's circular screen, and Hugh said he'd be back in 20 minutes. He pointed at the clock and told us to watch the numbers. As I settled all the lovey-dovey butterflies in my stomach, the older woman next to me exhaled and said, "I wonder what he's going to do next. I mean, what's he going to do next?!"

By then, I had figured it out and I couldn't wait, so let's get to it!

Act II

Hugh Jackman didn't come back in 20. Instead, the screens showed footage of his spectacular performances in The Boy from Oz, from 2003 through 2004, which earned him the Tony for Best Actor in a Musical. Then, Peter Allen hit the stage, and I couldn't stop smiling! In full character, Hugh chatted and improvised with the audience, as he did during all the performances of that amazing show. (This is one of the many reasons he won that Tony. Every performance was new, different, and exciting!)

On this night, he came off stage and walked along the stadium seating (on the far left side), scanning the crowd. He picked a large guy named Kyle, who looked out of place at this Hugh Jackman concert. Kyle said he just lost a $10 bet with his wife, who had guessed that Hugh/Peter would come over to talk to him. "Do you want me to spot you a $20?" Hugh/Peter asked. Instead, he gave him a $100 bill that he found in his pocket and brought him on stage. Hugh/Peter asked him what he did for a living, and Kyle said that he actually just had a job interview. Hugh/Peter was excited about this and asked eagerly, "For what?!" Kyle hesitantly explained, "Well, I'm in recovery, and I help people with substance abuse issues." That earned him a roaring round of applause and a few hugs from Hugh – I mean, Peter – who was telling him how fantastic he was! (That is fantastic!)

Then, Hugh/Peter moved on to chatting with the wife: "Does he pick his own clothes?" and eying Kyle's boring ensemble, "He can no longer be in charge, darling."

Getting back to the songs, with Kyle still on stage, Hugh sang a slew of Peter Allen hits, including, Not the Boy Next Door; a medley of Arthur's Theme (Best That You Can Do), Don't Cry Out Loud, I Honestly Love You, Quiet Please, There's a Lady on Stage, and I Go to Rio; and Tenterfield Saddler. During Arthur's Theme, he sang and addressed Kyle with a wink, "Just once in your life, you'll find him... Kyle..." They started dancing and, unprompted, Kyle lifted him off his feet. (I told you he was a big guy.) Hugh/Peter exclaimed, "We could do the Dirty Dancing thing!" Everyone laughed as he tried to bounce upward into that shape, but they did not prepare for that! It was still the best. I wanted to see Boy from Oz all over again (and again)!

The selection from The Boy from Oz made everyone happy!

Next, to calm things down a bit, the background vocalists Kayleigh McKnight and Jenna Lee James started singing A Million Dreams from The Greatest Showman. Hugh was backstage changing but came out in time to wander around the stage, strolling around dancers as they sang. Then he joined in by the third verse. It was an ethereal, moving performance by everyone involved. They even had someone on stage sharing lyrics in sign language.

After that awesomeness, Hugh talked to us some more! He said, "I had a very difficult childhood. I only had three channels on the telly. We didn't even have remote controls!" He said that he used to run home from school to watch old movies on TV (because that's what they played on TV back then), and that's how he fell in love with movies and musicals. (This is what I did when I was a kid!) He then went into a medley of show tunes, including Luck Be a Lady, Singin' in the Rain, I Got Rhythm, Steppin' Out With My Baby, and Sing Sing Sing.

Everybody could use some old show tunes now and again. 

You can guess what my favorites were in that group. He had an umbrella, of course, and then just like Gene Kelly, he picked out people in the audience to sing the "I got" part for George Gershwin's "I Got Rhythm." That made me happy, even when pointed at a girl who wasn't paying attention. (He said, "Oh, you weren't listening, were you? It's okay. It's not school. You can do whatever you want," and he moved on to another person.)

As he got into Steppin' Out With My Baby, he gave one of the dancers a solo moment: "This is Camille, from DC!" he said. He built up the moment before her solo, telling everyone that her family is here watching her and, "She's only been waiting for this her whole life – no pressure!" (She was a star!)

Hugh talked about how his big brother made fun of his interest in dance when he was a kid, so he played rugby instead. Then, when he was in his late teens, his brother apologized after seeing him perform somewhere, telling him he should pursue what he loves, so he enrolled in his first dance class the next day. Then, Hugh started tap dancing, and my night was compete!

The dancing lessons paid off!

Hugh told us he likes musicals; they are all great! But he really likes rock music too. Suddenly, a bunch of different loud songs came on over the speakers, like "Taking Care of Business" by Bachman-Turner Overdrive and "Jump" by Van Halen. And then, Hugh started banging on various drums because I think he can do everything! The dancers were carrying these drums - some were sideways, some were straight on, and some were held up high. It was all choreographed and exciting to see and hear. At the end, he did one of Wolverine's signature poses – with drum sticks in hand, not blades – and everyone screamed! He spotted a guy in the audience at the end of the walkway, waving a DVD of Real Steel...and he signed it while on stage! He laughed, "So when I did that [pose], you thought Real Steel, huh? That's right. Yup, Wolverine was in Real Steel."

You get a drum, and you get a drum, and you get a drum! Everybody gets a drum! 

After the drum extravaganza was over, Hugh exclaimed, "Let's see Ryan Reynolds do that!" And immediately followed with, "Do not post that! I might get 4 million tweets tomorrow morning!" (Sorry, Hugh, but that was funny. Ryan Reynolds fans, it's a joke!)

I couldn't have guessed where we were going from here, but it was Australia. He talked about the Australian Outback, the vastness of the land, and how there is nowhere else like it. Then four indigenous musicians (three men and one woman) – part of the company Nomad Two Worlds – played two songs, Art Song and Inhibition, complete with digeridoos! The woman, Olive Knight, translated some of the language, including, "The land is crying for its people, and the people are crying for the land. Do not be silent. Fight for her. I had a dream, and my dream came true." The Australian portion of this program ended with Hugh singing Israel Kamakowiwo'ole's version of Over the Rainbow.

See the digeridoos?

Then Hugh switched gears and sang Mack the Knife to the crowd. At one point, he kissed an audience member's hand instead of shaking it. When he let go, she melted into her friend's arms. (It wasn't me.)

It was here that he announced, "There are two songs to go, if you want to go." I figured I should stay at this point.

Phone flashlights made the arena look like it was full of stars. 

While he sang From Now On from The Greatest Showman, he introduced all the dancers and musicians for rounds of applause. And, during the last song – Peter Allen's Once Before I Go – he signed autographs and sometimes interjected between lyrics: "Can I borrow your Sharpie? Multitasking!"

I told you he can do everything.

The Stars of Spring 2019

Hi everyone,

Springtime invitations led me to some unusual events, including concerts by Anoushka Shankar, Lisa Fischer & Grand Baton, Jon Batiste & Stay Human, and Ozmosys as well as an event I never before considered attending, Awesome Con. While the Kitties have been too busy to sit still for a portrait lately, here's a rundown of how I spent the first half of 2019.


Anoushka Shankar, Sixth and I Synagogue (March 23)
I think I first heard of Anoushka Shankar when her sister Norah Jones became popular and reporters noted the interesting family connection. Or maybe it was when Anoushka asked Sting to sing on one of her albums. I remember seeing her shows advertised in the Washington Post's Weekend section before, performing at Lisner Auditorium, Sixth and I Synagogue, or somewhere else. I thought about going each time, but this time I finally did.

Photo credit: Mark Caicedo

Unlike Norah Jones, Anoushka Shankar followed in her dad's footsteps, playing the sitar with traditional, Western, and international influences. This show at Sixth and I Synagogue was welcoming and relaxed. The musicians wore vibrant silk shirts and many were barefoot. They sat cross-legged on oriental rugs playing their instruments, some of which I'd never seen before. Whether more traditional or Western, each piece – including tracks from her recent compilation album Reflections and first ever soundtrack work for the restored 1928 silent film Shiraz – led to resounding applause. Sixth and I's fantastic acoustics captured every note of the band's articulate music, and it washed over us in waves that crested and fell. What I loved most about it was the opportunity to watch the musicians play their unique instruments and experience the resulting fullness of the music. This immersive experience captures and takes you to India, and keeps you hoping that you can stay awhile.

"Traces of You" by Anoushka Shankar (2013)

Lisa Fischer & Grand Baton with the National Philharmonic, Strathmore (April 6)
Everything seems to flow joyfully for Lisa Fischer. Her voice does whatever it wants, and every sound is the right one. For this performance, she appeared barefoot and beautiful in gold and emerald green. She uses two microphones, a standing one and a hand-held one, and which one depends on what the phrase requires. The accompanying musicians of Grand Baton equal Lisa Fischer's talent and expertise, and when you add the National Philharmonic (led by cool Asian conductor Josephine Lee) inside an acoustically perfect venue like Strathmore, you're in for a special treat.

Photo credit: Steve Roby

Most people know Lisa Fischer from her work as a backup singer for the Rolling Stones, Tina Turner, Sting, and other superstars. In addition to originals like "How Can I Ease the Pain", her concerts include covers of these artists' popular songs, which Grand Baton leader and multi-instrumentalist Jean-Christophe (J.C.) Maillard has rearranged into barely recognizable concoctions. What's classic and familiar sounds new and unexplored. This concert's covers included "I Can't Get No Satisfaction", "Jumpin' Jack Flash", "Gimmie Shelter", and "White Horses" by the Rolling Stones (the last of which made me cry); Led Zepplin's "Rock and Roll" and "Immigrant Song"; Sting's "Fragile" and "Message in a Bottle"; and a bluesy version of Robert Palmer's "Addicted to Love". But this isn't a cover band. I can't describe them well. It's something you have to hear (and see) for yourself, so get your ticket now to see Lisa Fischer & Grand Baton when they'll be back at Blues Alley in November.

Lisa Fischer & Grand Baton at the 2016 BRIC Jazzfest, Brooklyn, New York 

Awesome Con 2019,  Walter E. Washington Convention Center (April 27)
This isn't music related and may not fit in here, but it was a springtime adventure. I didn't know Awesome Con existed until a couple years ago, when I saw people walking around D.C. in superhero and anime costumes and noticed signs in random restaurant windows welcoming the convention to town. Taking place this year at the Walter E. Washington Convention Center from April 26 to 28, I joined a friend on one of the three days of festivities. The main attraction for me was a Q&A session with stars of The Princess Bride – Cary Elwes, Chris Sarandon, and Wallace Shawn – but I was pleasantly surprised by the whole experience.

I did not dress up in costume, though I saw a few good ones. Awesome Con turned out to be more educational than I expected. While there are star attractions and opportunities for photos and autographs with them, the bulk of this convention is panel discussions about writing, comic book creation, science, space, and other topics. Also, the convention's exhibit hall is a shopper's dream. You could spend an entire day shopping for anything and everything related to your passion for comics, art, anime, games, and other entertainment. While I only attended a couple of discussions (one about writing with purpose and one about graphic novel story creation), they were both informative and provided lots of tips and resources for budding writers and artists.

As for my day's main event, The Princess Bride Q&A, Wallace Shawn didn't show up! I'm not sure what happened, but he apparently had his own Q&A scheduled for the following day. It's okay. I was quite happy with "Westley" and "Prince Humperdink", who reminisced about their careers and the 1987 classic film, even though I had heard most of the stories before or read them in Cary Elwes's memoir As You Wish. (You can read my review of that book here.) I did learn that Chris Sarandon is now working on a memoir of his own.

Like me, many of the adults wanted to learn random trivia about one of their all-time favorite movies – a movie we've memorized backwards and forwards. But it was when Cary Elwes invited a little kid who was dressed as "The Man in Black" on stage to ask his question (about the technicalities of movie's sword fights and stunts) that I happily thought, this movie is going to last forever! (You can watch much of the Q&A here.) Thanks, Awesome Con, that was fun!

Awesome Con 2019

Jon Batiste & Stay Human, The Anthem (June 15)
I remember when Jon Batiste & Stay Human performed on The Colbert Report. (Comedy Central removed this performance from the internet, but you can still watch Stephen in character interviewing Jon on that episode here.) At the end of the show, Jon led his New Orleans jazz band, audience members, and whoever else happened to be there outside and along the streets of New York. It didn't surprise me when Stephen named him band leader for The Late Late Show a few years later.

This year, Jon Batiste & Stay Human participated in D.C. annual citywide jazz festival, and I finally got to see the band perform in person at The Anthem, a relatively new venue in Southwest D.C. The Anthem typically offers general admission on its main floor and stadium seating on the upper levels. The open, airy space offers great sound. Outdoors, the renovated Wharf area makes me feel as if I am on vacation with its tourists, trendy shops and restaurants, and pretty water views.

Photo credit: Ari Strauss

This concert was as fantastic as I imagined: Jon wore a purple suit over a neon yellow shirt, a burgundy fez hat, Mardi Gras beads, and white sneakers. His and the band's energy matched his colorful outfit. Billed as a New Orleans Party, Jon kicked off the show by playing his melodica and dancing around (just as he does on The Late Show). However, this set list offered plenty of variety beyond Jon Batiste's hometown. He played several songs from his recent album Hollywood Africans, including "Don't Stop," which began after he played a bit of Beethoven's "Moonlight Sonata." He also played a version of "The Star Spangled Banner" on the piano that made me think of Jimi Hendrix's version on the guitar. He and the band played new music too, currently being recorded and soon to be release later this year.

Throughout the show, each band member had moments in the spotlight, demonstrating skilled musicianship and showmanship. And, at the end, with instruments in hand, they played The Late Show theme song while parading through the general admission crowd and upstairs to the second-floor seated area where Dad and I were. We all followed as they led, back downstairs, outside, and around the block until they disappeared through a nondescript door in the back of the building and the music faded into the distance. That's how you end a New Orleans Party.

"Don't Stop" by Jon Batiste (2018)

Ozmosys, Blues Alley (June 27)
Ozmosys is a new jazz fusion band. Leader and drummer extraordinaire Omar Hakim attracted me to this show. I've always remembered him from Sting's 1985 documentary Bring on the Night, when he had his way with the drums on Sting's romantic ballad, "I Burn for You". If you watched only Omar during that performance, you might call the police with suspicions of domestic violence.

Photo credit: Louis Myrle

Omar has lost none of that power as part of Ozmosys. At this performance at Blues Alley, he still beat his drums with unparalleled force. After one of their pieces, he joked, "Let's do a ballad; I'm tired." His fellow bandmates, guitarist Kurt Rosenwinkel, keyboardist Rachel Z., and bassist Linley Marthe matched his energy with equal enthusiasm and skill. This concert offered a variety of tunes, including fresh material to be released on Osmosys's impending debut album as well as older songs from the band members' individual catalogues. I didn't know any of the songs, but I appreciated their thoughtful and innovative use of computers and iPads paired with old-school instruments and worldly influences. Each band member earned a spotlight to showcase their unique talents and, together, I think Osmosys built to last.

Apparently, Osmosys is too new to have videos, but I found one similar performance from 2018 with three Osmosys members and J.C. Maillard from Grand Baton! All the cool people know each other.

Omar Hakim, Rachel Z., Linley Marthe, and J.C. Maillard
2018 Nisville International Jazz Festival

More is to come this summer, including brand new Kitties, I promise! In the meantime, enjoy some entertainment wherever you are.