Being that Mr. X and my romantic movie is The Wizard of Oz, (long story for another time,) and after seeing two of Muse/Ique’s previous productions, I felt compelled to see their new show, Back To Oz, at the Mark Taper Forum. (But Mr. X stayed home that night, so I could take my friend Roz because I knew she would love it. And it was actually the first time that she ever told me I was right about something! Thanks, Muse/Ique!)

We both, (along with the entire audience we saw it with, I’m sure,) suggest that everyone mosey on over to downtown LA next weekend to see the show. (It’s your last chance for this one.)

The finale, with all the singers along the front. Photo by Karen Salkin.

If you’re not familiar with Muse/Ique, it stars a wonderful orchestra headed by Artistic and Music Director, Rachael Worby, who shares the background on each piece we’re about to hear, and on the headline topics, in general. She imparts more musical and historical information in the brief ninety-minute shows than a professor in an entire semester! As we were leaving, Roz declared, “I thought it was a brilliant way to teach an audience the history of the film and the composing of it.”

They do a few shows per year, each one featuring a different category, not just of music genre, but of area of interest. And we whimsy fans are all lucky that this one is music from, or related to in some way, The Wizard of Oz. Yay us!

Part of the fun for me is that this was my third Muse/Ique show, in two different venues, and it was my third different visual view of the proceedings. And each one is interesting. All seats at the semi-intimate Mark Taper Forum, where this run is taking place, are superb. I love that place!

Michal’s Group. Photo by Karen Salkin.

Before I tell you about the actual show, I have to tell you how fun the entire experience is before we even enter the theatre! Right in front, on the Music Center Plaza, there’s a bar with full beverages and snacks, (including sandwiches.) And Muse/Ique always has a local combo playing music outside; this time it was Michal’s Group.  And since it was hot out that day, they even provided lovely white parasols for us to use as we mingled outside. Roz and I loved it all.

As to this show, Back To Oz, the action begins with a rousing rendition of A Brand New Day from The Wiz, performed by the orchestra and a fabulous gospel group, DC6 Singers Collective. I told Roz that I wanted to party with them after the show!

In addition to that group, we’re treated to a trio of guest artists: Carmen Cusack, LaVance Colley, and Nathan Granner. They’re all fabulous singers, but having reviewed Carmen in musicals twice before, I really wanted to hear her again. I’m happy that she’s the one who sang Somewhere Over the Rainbow. (When I reviewed Carmen in the musical Bright Star eight years ago, I wrote, “…the number one reason to see it is the star, the luminescent Carmen Cusack. She is the Bright Star! That girl can sa-ang! No wonder she doesn’t have a big booty because she sings her ass off in the show!” And this show proved how right I was back then.)

And you’ve never heard these songs sung with such an excellent operatic voice as Nathan possesses. It must be fun for Nathan as well as the audience because I don’t suppose the much-working tenor gets to perform popular tunes such as these very often.

(Seated, L-R) LaVance Colley, Carmen Cusack, Nathan Granner, and Rachael Worby standing on the right. Photo by Karen Salkin.

I loved seeing that when LaVance Colley was singing Goodbye Yellow Brick Road, the gospel singers who were sitting on the stage were totally feeling it. And when he finished, as the audience jumped to its collective feet, I noticed they were even crying! I think everybody in the Mark Taper Forum that night was verklempt* over that performance. *[“Verklempt” is a Yiddish word meaning overcome with emotion or choked-up, both of which we all were that night!] Roz said that she felt like she was “in on a Broadway hit when the standing ovation happened for him!”

I had been expecting music solely from The Wizard of Oz plus The Wiz, but we got a much more mixed bag than that.  I was surprised by some of the selections, such as the old classic It’s Only a Paper Moon, (two-thirds of whose writing team wrote the songs for The Wonderful Wizard of Oz,) and Elton John’s Goodbye Yellow Brick Road, though they were appropriate to the topic.

I had wanted to hear more of The Wiz, because shockingly, I’ve never seen it, neither the movie nor the show. (How is that even possible?) But it all worked out because I had totally forgotten that Wicked could be in that group of songs that pertain to the Wizard of Oz. So to hear the two most famous ones, For Good and Defying Gravity, was a total bonus. Carmen’s rendition of Defying Gravity, (which she’s done many times starring as Elphaba in the first National Tour of the show,) actually made me cry. So I suggest waterproof mascara for everyone who sees it next weekend. (Along those lines, I still can’t believe that I got chills from the assemblage singing the goony The Wonderful Wizard of Oz near the beginning of the presentation; it was that magical.)

Part of the Muse/Ique orchestra. Notice the two members of the DC6 Singers Collective on the top left, who are totally feeling the music. I love that! Photo by Haoyuan Ren, and courtesy of Muse/Ique, as is the one at the top of this review.

But Muse/Ique productions are about soooo much more than just playing the famous music. The whole thing is a cornucopia of interesting information. In this case, we learned things such as that L. Frank Baum’s iconic book, The Wonderful Wizard of Oz, was published one hundred twenty-six years ago! And that Ira Gershwin is actually the uncredited composer who added the coda, “If happy little bluebirds fly beyond the rainbow, why, oh why can’t I?,” to Somewhere Over the Rainbow!  Who knew? Along with those juicy tidbits, we got to feast our eyes on a beyond-special tuba, (a long story goes with it, but you’ll have to see the show yourselves to learn it,) played by orchestra member P. Blake Cooper.

Me being the visual-oriented person I am, I’m always especially fascinated by Muse/Ique’s slides and video clips that accompany the tales. And the ones for Back To Oz are the best visuals they’ve ever done! I want a copy of all of them. Let me tell you—that took an inordinate amount of research from staff of the organization!

On a similar note, I was thrilled to see that LaVance Colley was rocking the most gorgeous red sparkly shoes, (like Dorothy’s famous ruby slippers,) and Carmen wore a sparkly silver top for the occasion. I, of course, dressed in that vein, as well. I polished my nails emerald green, (in honor of the Emerald City,) and, after about an hour of digging through my vast wardrobe, came up with a green top and tons of green jewelry. I did all that just to amuse myself, actually, but I was happy to see the performers were of a similar mind. I was glad to discover that I was not the only fun one there.

One thing I realize that I admire about Muse/Ique is that when it’s over, it’s over. They finish the final number, and then all the musicians come downstage and they bow ensemble. They just get on with it; no posturing for more applause and an already-planned encore.

The ensemble bow at the end of the show. Notice the famous tuba in the middle! Photo by Haoyuan Ren, and courtesy of Muse/Ique.

Roz speaks for both of us when she says that Ease On Down the Road, (which I add is exactly what we did afterwards,) from The Wiz “was a spirited way to send the audience home, singing along long after the show.”

I heartily encourage everyone to see this show this coming weekend. And then to check-out Muse/Ique’s entire schedule. (I’ve brought three different pals to the trio of Muse/Ique presentations that I’ve seen myself, and all three have declared that they now want to see everything from them from here on out! Roz says, “We’re grateful they have more and different programs all the way to October this season.” So that you get to see them, as well, please click here to check-out their upcoming schedule: www.muse-ique.com.)

Muse/Ique: Back To Oz running through April 26, 2026
Mark Taper Forum 135 N. Grand Ave.
213-972-4400 www.centertheatregroup.org/shows-tickets/taper/2025-26/museique-back-to-oz

Muse/Ique’s new show at The Wallis this past weekend made me realize something—I have always taken the late Quincy Jones for granted. He was a famous music name I’ve always known, so I never thought anything about his gazillion accomplishments.

But a few minutes into their Quincy’s World show, I began saying, “Wow.” And never stopped. What a prolific composer/producer/everything he was!

Muse/Ique’s presentation of Quincy’s World at The Wallis. Photo by Karen Salkin, as is the one at the top of this review.

I had once seen this musical company elsewhere, and, as much as I think the world of Quincy Jones’ music, I was going to give up going to this new show because of my crazy schedule this month. But when I realized that it was at The Wallis in Beverly Hills this time, I changed my mind because I just knew that would be the perfect venue for them. And…I was correct! The intimate theater was perfect for the presentation. I always forget how fabulous live music is, especially when it’s so up-close like it was at the Wallis.

If you’re not familiar with Muse/Ique, (as I was not prior to last August,) it’s a hip orchestra, (of which I counted thirty-two members, but I could be off by one or two,) that performs a series of shows over the year. Each offering features one specific category, such as Latin music and this one—the music of Quincy Jones. Their Artistic and Music Director, Rachael Worby, gives the audience the history of what we’re about to hear before each selection. And, in the two times I’ve now seen them, all the knowledge she imparts is pretty unique.

Brandon Victor Dixon singing his heart out in front. Photo by Karen Salkin.

To me, the most surprising tidbit that Rachael, (her spelling, not a typo,) gave us is that Quincy Jones basically discovered…Lesley Gore!!! Who knew?! (Outside of Rachael, of course.) He produced her first song, It’s My Party, (which has been my anthem my whole life, because the first line continues “..and I’ll cry if I want to!”) I’m such a fan of all of my fellow Brooklynite’s songs that now I hope one of Muse/Ique’s shows next season will be about Lesley Gore’s contributions to the pop world. (I know my love of her music seems a tad strange for my mainly hip-hop and R&B self, but I also adore singable oldies.)

Rachael’s breadth of music history knowledge is mind-boggling. She knows even more about music than I do about beauty queens!!! And that’s saying something. (And on one of my usual shallow notes, her tresses look great from the back, and have just the right movement while she conducts. I promise you that’s a bonus for us hair girls, which I’m pretty sure she joins me in being.)

This was the first show of Muse/Ique’s season, and it was a really good one. Mr. X, (yes, you read that right—he did come to this one because he joins me in my Wallis fandom,) said the show was  “impressive,” and that it was “good to be around real quality, dedicated musicians.” And I’m always thrilled to see musicians be employed. My fave that night was the guitarist, Michael Abraham.

I believe the orchestra is always joined by guest vocalists, and this time they were Brandon Victor Dixon, (who was so dynamic as Judas in the 2018 TV production of Jesus Christ Superstar,) and Vanessa Bryan. They both added so much to the show. Brandon is sooo smooth! His I Can’t Stop Loving You was my favorite number in this show. And I also especially admired the great job Vanessa did on the Michael Jackson song, The Way You Make Me Feel.

Speaking of Michael, Rachael reminded us that his Thriller, (produced by Quincy Jones, of course,) is still the best-selling album of all time, forty-four years later! How amazing is that?

Alyssa Park, on the left, playing the gazillion-year-old Stradivarius. Photo by Karen Salkin.

They ended with a rollicking rendition of Let The Good Times Roll, preceded by a special video message from Quincy in 2023, a year before he passed.

One of the most special moments of the evening was hearing concertmaster Alyssa Park play a Stradivarius violin…from 1716! What a thrill that must have been for her! How was that even possible, you may ask? Because it was on loan from generous philanthropists, Terri and Jerry Kohl. (I, of course, got a kick out of the couple’s first names rhyming.) [Note: In looking them up, I see they were also instrumental—see what I did there?—in re-doing the Huntington Gardens’ Tea Room. So it reminded my Afternoon Tea-loving self to pay that place a visit!]

I loved being in an audience of music appreciators. But sadly, outside of yours truly, there were very few boppers. (Meaning people who move to the music.) I inspired the two women next to me to bop along, and noticed only two others in the entire audience doing so. What is up with that? I was happy to notice a few of the musicians bopping, most notably Drew Forde on viola and violinist Marisa Kuney. It was fun to be vibing along with them! (Although I have no idea how they manage to play and bop at the same time. Multi-talented musicians.)

I do have to mention the two little things that bothered me this time, which turned-out to be among the very few things that Mr. X and I have ever agreed on! First is that we wish that the musicians had sat down! It made us both crazy that most of them stood up just about the entire time! And being the Empath that I am, I got tired for them pretty quickly, and could not fully relax for most of the show.

Rachel Worby in the center, Vanessa Bryan sitting on the front far left, Michael Abraham on the red guitar in the back left, Drew Forde on the second row far left, (right above Vanessa,) and Marisa Kuney in the red pants near the middle in front. Whew! Photo by Karen Salkin.

Secondly, going forward for them, we heavily suggest that they dim the audience lights much more than they did this time. Having the audience lit up like that took the focus off the stage for a lot of the time. Mr. X actually thought that there was something wrong with the theatre’s lights! It was sort-of uncomfortable. But at least it made me glad that I had put in the effort to look good that night!

I had experienced that same lack of audience light in my teens, so it also gave me a happy memory. My mother used to take us girls to orchestra concerts at Lincoln Center. I had no interest in seeing shows without what I considered any visuals, (such as dancers or cute guy singers,) but I could not let my sister get all that alone time with my mom, so I had to go. And I was grateful for the lights then because it made it easy to write letters during the show, which I felt compelled to do since there was nothing to occupy my eyes otherwise. Similarly, in the Wallis the other night, I had the easiest time writing my review notes which at all other times I’m writing in the dark, without even looking at the paper. But still, it’s an audience annoyance to leave the lights on so high. Just saying.

On a few more personal notes, I was lucky enough to meet Quincy Jones at a lovely fete Beverly Hills party a dozen years ago. It was a brief introduction by a mutual pal, but I will still always have that memory.

Shortly after I wrote a note that my parents would have gone nuts for this show, I realized that I had also written that about Muse/Ique’s previous offering! Great minds… (But in this case, they’re both mine!)

I love when an entertainment inspires me to do research on one thing or another. And this one did just that. As soon as I awoke the following morning, I looked-up Lesley Gore, some of the songs I heard, and Quincy Jones himself. Fascinating subjects all!

The entire presentation was a reminder that schools really need to help out the arts.

I have to tell you of the beginning specialness that night at The Wallis, which I didn’t even know about in advance. Instead of picking-up the tickets at the Box Office, we were directed to their upstairs patio where there were hightop tables manned by pleasant helpers to check us in. It was the perfect spot for pre-show mingling. There was a bar out there, and the best part was a jazz combo, playing the entire time! Mr. X and I really enjoyed them. I found-out that they’re The Delights, a jazz ensemble from CalArts. When asked about them, Muse/Ique replied, “We like to support young and local artists, and to create a festive environment for our pre-show mingling.” And that’s exactly what they did—it was a very special start to the fabulous event.

So that you never miss any of Muse/Ique’s shows, which happen in various venues all year, you should check-out their upcoming schedule right here: www.muse-ique.com

This past weekend, I finally made it out to a performance by the Pacific Jazz Orchestra, which I had heard a lot about. My friend, Nina2, and I went to their Holiday Jazz Spectacular. And it was exactly that!

The show was at Glendale’s Alex Theatre, which I had not been to in a very long time. Seeing the show in such a historic building, (it was built a hundred years ago!,) made it even more special.

Photo by Karen Salkin.

I think this was actually Nina2’s favorite event that I had ever brought her to in our almost three years of friendship. She really loved it. A few minutes in, she whispered, “It’s a very full sound. It’s lovely.”

Chris Walden. Photo by Karen Salkin.

If you’re wondering what a jazz orchestra is, (as opposed to a jazz band,) it’s a forty-member hybrid big band and string orchestra. And the Pacific Jazz Orchestra is actually the only ensemble of its kind in the whole country! The conductor is Chris Walden, who not only led the musicians, but broke-out his own flugelhorn for a number near the end of the show! What a special surprise that was!

In addition to the talents of all the musicians on display, we were treated to a trio of vocalists: Sy Smith, Brenna Whitaker, and none other than Aloe Blacc! They sang five songs each, and ended the evening with all of them together on a jazzy version of Jingle Bells.

I was so glad that Sy sang the holiday song that means the most to me personally, Christmas Time Is Here, which I just refer to as “the Charlie Brown song!” Nina said, “Sy has a very holiday kind voice,” and I know just what she meant.

This was amusing—Brenna began her third Act One song, Rockin’ Around The Christmas Tree, with the wrong words, (as Jingle Bell Rock,) so when she came out for the second act to start that set with the latter this time, she said, “Let’s do this right.” Very cute of her. (And I have to admit that I mix-up those two holiday ditties, as well!)

After that bit of frivolity, Brenna went with the more serious Grown-up Christmas List, whose message we need more than ever in this crazy year! She sang it beautifully, and told us that David Foster and Linda Thompson wrote it. I had no idea of that authorship! I thought it was from way before their time.

(L-R) Brenna Whitaker, Sy Smith, and Aloe Blacc, with Josh Nelson on piano. Photo by Beate Walden, as is the one at the top of this page.

Aloe sang the social justice song, One Good Thing, that he released earlier this year, explaining that it was inspired by Martin Luther King and Harry Belafonte. He said it’s about “finding something good about each person, to move the world along.” I really appreciate that sentiment because that’s exactly what I try to do every day. (By the way—I couldn’t find an explanation of the impetus behind this song anywhere on the internet, so you may actually be reading an exclusive here!)

One music thing that I especially enjoyed was that we were sitting on the correct side to see the hands of the pianist, Josh Nelson. As someone whose piano abilities ended with Putt Putt Putt Goes the Flashy Speedboat, (just about the first piano composition that all kids learn,) I like seeing what talented people can do on those keys!

Some of the holiday treats after I already got to them! Photo by Karen Salkin.

It was also nice to be among so many enthusiastic jazz fans! I’m used to being in audiences for dance and theatre, but this music one was entirely different. There was a different kind of upbeat energy in the place. I hadn’t hung with jazz peeps that much in my life, so they were a nice surprise. I got a kick out of that they were of all ages—I even spotted a few babies in the crowd!—and in so many different modes of attire.

One thing that made the whole evening even more special for Nina2 and me is that we were invited to two intimate private receptions—one at intermission and the other at the end of the concert. We got to discuss what we had just seen and heard with people who really know the genre. I even got to laud Brenna Whitaker in person. And eat some delicious cookies and pastries, to boot! It was the perfect capper to a charming holiday event.

To learn more about Pacific Jazz Orchestra’s performances, check-out their website right here: www.pacificjazz.org.

There’s nothing like live music! Especially when it’s as good as it is in Muse/Ique’s Like It Like Harlem, which my musical friend Nina Herzog and I saw at the Mark Taper Forum this weekend.

It was a really different kind of production for the Taper. But I believe that that’s what they’ve been doing for the last couple of years—mixing it up quite a bit with special presentations, the variety of which I always enjoy.

Before the show began. Photo by Karen Salkin, as is the one at the top of this review.

To be honest, I had no idea what this show would be. But because I knew it was made-up of music that I like, and Nina is a singer who loves all kinds of music, I thought it would be a pleasant evening, which we all sorely need right now. I had read that it was featuring Latin music, so, in these insane times, especially in Los Angeles, I wanted to go support. And one song in, Nina whispered, “I love it already!”

So, lest you are also unaware of this company and what they do, let me explain them a tad. From what I now understand, Muse/Ique presents orchestral and band music in different genres in shows where their Artistic and Music Director, Rachael Worby, explains what we’re about to hear before each selection. She gives the history/background of the music in a way that I feel I once heard Leonard Bernstein do it someplace when I was a little girl. It felt sort-of like an excellent college seminar, that everyone wants to take, with the perk of a superior band! (“Seminar” is not a putdown, by the way—most of my family is educators. Including yours truly, back in the day!) Where else can you hear live music with lessons?! And let me tell you—everyone in the packed house was into it!

This particular offering’s subtitle was Salsa, Boogaloo, and the Making of a New Musical Playground in New York City, so you know it was all upbeat and fun. To aid Rachel’s explanations, there was a giant screen which displayed photos, artwork, and videos with each song. Nina and I really enjoyed all of them. As much as I’m into music, I love a good visual even more!

Like It Like Harlem opened big with Tito Puente’s iconic Oye Como Va, which got everyone’s attention from the get-go.

Photo by Karen Salkin.

Conductor Worby told tales of the influence on music by several other Latin artists, as well, including José Feliciano, Celia Cruz, Carlos Santana, and Pérez Prado. I had just seen a television documentary about how Ed Sullivan helped black artists way back when by featuring them on his television program, and bits of Like It Like Harlem demonstrated that Ed also helped Latin performers, such as Pérez Prado. (Muse/Ique’s band played his Mambo No. 5 that night, although I would have rather heard his more known, but slower, Patricia. Every time I hear that song on oldies stations, Mr. X quizzes me on who wrote it, like I’m ever going to not know the answer is Pérez Prado! I’m glad the show inspired me to research Pérez because I discovered that Patricia actually had lyrics! And they were written by my old buddy, Bob Marcucci! Live and learn. I’ve only heard that tune as the famous instrumental it is.)

I was shocked that Latin music brought up so many personal memories for me! I’ve been to all the areas of New York about which Rachel spoke, (most of them many times, with one visit to Harlem and Spanish Harlem in recent years,) and never knew all these Latin references! But now I’ll make a point to notice them. My precious Brooklyn Bridge even got a mention from her.

They did a section on Desi Arnaz, (for which they played his famous Babalu, which I’ve never ever heard anywhere but on I Love Lucy! That was a fun surprise.) Seeing Desi on the screen was another thing that hit home for me because I had once played Lucy on a sitcom, to master impressionist Danny Gans’ Desi. Danny was so good, in fact, that I always feel a bit like I actually knew Desi!

One particularly poignant slide they showed. Photo by Karen Salkin.

They showed a fascinating video clip of him talking. Desi was emotional when he thanked America. (So was I.) He said, “I don’t think there’s another country in the world who would give you that opportunity. Thank you, America!” Let’s all hope that we can get back to that inclusive situation very soon. (As to that sentiment, Nina said, “During a time when racism against Latino culture is on the rise, this show felt deeply moving and profoundly important. The rhythms and beauty were electrifying, and the presentation of these major hits made it clear that America’s rich musical landscape owes so much to this diverse heritage. One fascinating thing I learned was that one of the first shows to challenge segregation laws and bring together audiences of every creed and race was a Latin production—and it’s no surprise. This music is pure celebration, with complex rhythms that catch every ear and invite every heart to join in.” To that, I add only: what she said.)

I was so interested in the presentation as a whole that I didn’t even notice that I was already a fan of a few of the performers! There were a quintet of singers, with two main ones. The guy was Brooklyn native Rogelio Douglas, Jr., whom I’ve reviewed in three other shows over the years, and in each one, I said that he was the best voice in the cast! And that was before I knew he was my fellow Brooklynite!!!

The female, Yvette González-Nacer, was also a former multiple review-ee of mine. I first saw her in a holiday “panto,” (a comedic take on The Wizard of Oz,) a few years ago. Mr. X was especially impressed with her, saying that “she gives the audience confidence.” I wrote, “That is one talented woman. She even accompanies herself on violin at one point!,” which she also did in this Muse/Ique presentation. I didn’t even realize that Yvette was the same actress/singer I had seen several times before until she started playing the violin!

Four of the performers whom I’ve reviewed in the past, as well! Singers Rogelio Douglas, Jr. and Yvette González-Nacer, along with dancers Katie Garcia and Joan Rodriguez. Photo by Karen Salkin.

And then, as soon as I wrote that they needed* dancers, out they came! Yay! And, I can’t believe it myself, but I’ve also reviewed both dancers before! The duo of Katie Garcia and Joan Rodriguez, (he also choreographed their numbers here,) had performed in a wonderful BodyTraffic project I saw at the Wallis three years ago, and, of course I loved them again, even though I was totally jealous of their exquisite, chiseled bodies now that I could see them up close.They were excellent, even though their numbers were more contemporary than Latin. As beautiful as their moves were, I wish that they had done more traditional Latin dances because I never get to see those. *[I’m more visual than aural, so, when music is playing, I’ve always needed dancers to watch. For example, when I used to go to Lincoln Center with my mother for a series of symphony concerts when I was a teenager, I had to leave the auditorium and go into the lobby while they were playing, and watch myself dancing in the big mirrors!]

As Like It Like Harlem went on, I kept thinking of how my parents would have loved this show. My brother is a Broadway musician, so I imagine that he would have been a fan, as well. Here at the Taper, I was happy to be a part of such an appreciative audience.

And they were an interesting audience, as well. Everyone was very appropriately dressed, (which, sadly, rarely happens anymore,) and well-behaved, (I never noticed even one person looking at their phone!,) and really into all of it! And Nina and I, who together know half the town, especially when we go to theatre events, didn’t recognize anybody else there, (outside of the cast and musicians, of course,) which was sort-of refreshing.

They closed the evening with the iconic I Like it Like That, which was perfect because the audience was more than ready to jump up and dance by then.

And you’ll have your own chance to do just that if you attend other shows of theirs, which happen all over town all year. Check-out Muse/Ique’s upcoming schedule right here: www.muse-ique.com

And for all the events at the Taper and their fellow Center Theatre Group’s theatres, click here: www.centertheatregroup.org

After missing last year’s Grammys, (I think our tv had conked-out at the time,) I was glad to see this year’s rendition, including the extra two hours of arrivals.

Trevor Noah imploring the audience to donate to the wildfire charities, with crazy-looking Chappell Roan front and center. Photo by Karen Salkin, as is the one at the top of this page.

It was a good enough show, and pretty much kept our interest. And I absolutely adored the respectful-to-the-victims-of-the-LA-fires aspect of the presentation. It was good that host Trevor Noah kept gently shaming the rich folks and companies into donating big bucks to the relief effort.

Miley Cyrus. See what I have to say about her looks later on in this article. Photo by Karen Salkin.

But I think I liked the format better in the old days, when they did odd collaborations, and featured one nominated act performing in each genre before that category’s award was presented, even opera. I also missed the show ending with a giant jam sesh. Oh well.

And even though I originally wasn’t a fan of the table seating, (my original note about the sitch was, “I hate that they had people at tables instead of rows. The seating is so uncomfortable! For the guests and for us at home,”) I got used to it after a little while. It was actually nice that people could walk around and meet and greet. Who said I’m not flexible?!

By the way, I hope you read my arrivals tweets, @MajorCelebrity, that night. I don’t know if I’m going to repeat any of those bon mots and pix  in this wrap-up of the Grammys, so when you’re done reading this, perhaps you’d like to check-out what I put on there in real time.

E ARRIVALS

Khruangbin. Photo by Karen Salkin.

These hosts weren’t bad, especially Zuri Hall. But I must say that Wells Adams is one of the luckiest guys around to get gigs after being a contestant on The Bachelorette at some point. We didn’t watch the show back then, so I don’t know if there’s maybe more to him than I’ve seen since.  But first he gets to marry adorbs Sarah Hyland, then he gets the most unchallenging job ever—being the “bartender” on Bachelor In Paradise. And now he’s co-hosting this arrivals show! It’s all sort-of ridiculous.

Raye seemed so nice, and not at all full of herself.

Idiotic and attention-seeking Jaden Smith. Photo by Karen Salkin.

Billie Eilish looked like a moron. (And then changed into a different outfit to sit in the audience, looking like a homeless person at a skateboard park!)

Coco Jones seemed nice, too. So did St. Vincent—she seems just like a normal girl who would be my friend, surprisingly to me.

Gracie Abrams’ dad has more money than anyone. So why did he not buy her braces???

Sheryl Crow was good and aware enough to say,”It’s different than a Grammys where it’s all about ‘what are you wearing,’ ‘who’s winning?’ It feels like people are really here to lift up the community.” Respect.

Even Billie Eilish didn’t look as idiotic as Jaden Smith! Get that entire family out of here already.

Kacey Musgraves. Photo by Karen Salkin.

Does Nikki Glaser ever wash her hair? Nor own a mirror?

I have no idea who Doechii is, but what are her hips doing??? I hope that’s not a form-fitting dress.

And what the f is Chrissy Teigen wearing???

Tori Kelly is the most talented performer there, but just doesn’t get enough recognition. I hate that.

Kacey Musgraves forgot to get dressed for the Grammys! She’s wearing a top that people wear under their clothing. And not in a sexy way.

Cynthia Erivo. Photo by Karen Salkin.

Has anyone ever seen Cynthia Erivo and Gollum together? She said her manicure took five hours. You all know I love me a good manicure, and I have a zillionth on my plate of what she does, but trust me—I would never waste that amount of time on a mani.

I have no idea who at least a third of these people are.

Mr. X’s new fave artist, Shaboozey, seemed like one of the nicest people. We love him!!! His being is as good as his wonderful music.

Victoria Money and her wobbly stomach. Photo by Karen Salkin.

Why would Victoria Monet choose to showcase her saggy boobs and untoned stomach like that???

How much surgery has Cardi B had??? She doesn’t even have a real face anymore!!!

Julia Michaels is so homely and doesn’t do herself any favors with her excessive tattoos, but she seemed so nice.

Best New Artist nominee, the group Khruangbin, looks like three people who would definitely not know each other!

GRAMMY SHOW

Classy Trevor Noah is  a more perfect host than even usual to host this show in these sad times. Good for him to solicit more and bigger donations from the rich folks, and not be obnoxious about doing so.

Chappell Roan. Photo by Karen Salkin.

I love that the show featured commercials for local businesses that burned down. They all made me cry.

Chappell Roan looked like a drag queen.

Dawes is a nothing band talent-wise. I hate that they’re getting fame because of losing their home and studio.  (The band is two brothers—one who is married to gazillionaire actress Mandy Moore, who shamefully promoted a GoFundMe to help her husband’s brother and other half of the duo, who lost his house in the Eaton fire, even though she could have just given him the money herself!)

Cardi B’s new fake face that looks like a cartoon! Photo by Karen Salkin.

It’s weird to me that Sabrina Carpenter was up for New Artist; I had seen her perform in a holiday panto show…nine years ago!  That’s not exactly “new.” But I do give her credit for her beyond-skinny upper body.

And what was her number about? All the fake mess-ups seemed to mean nothing. And what was up with all the chubby dancers? Performers usually do that when they’re not skinny themselves, but Sabrina doesn’t need that, at all!

What the f is wrong with Cardi B? I can’t even describe her stupid talking.

Doechii’s awful hips in that outfit. Photo by Karen Salkin.

Why do these idiots change their outfits after they walk in?

The Doechii woman looks like an especial idiot, prancing around in her unattractive underwear. But at least her teeth look better than they did when she was arriving.

I’m far from a country music aficionado, but I feel that Beyonce won for Best Country Album because the voters thought that they had to give it to her.

By the way, (and I hate to say this about my fellow Capricorn,) it’s disgusting that her daughter, Blue Ivy, just turned thirteen, but has uber long fake nails and tons of make-up. She should just be a kid!!! (Meanwhile, Beyonce looked washed-out and old. Maybe from dealing with all of Jay-Z’s nonsense.)

Alicia Keys’ simple, pretty, and utilitarian nails. Photo by Karen Salkin.

I looove Teddy Swims and his song, Lose Control!

Alicia Keys had the best, most classy short nails. Mr. X pointed-out that’s because she’s a piano player.

Even though I love her song Hot To Go, Chappell Roan winning Best New Artist, (over deserving Raye, Teddy Swims, and Shaboozey,) is ridiculous. And creepy. And she looks like an idiot and a clown, (not to disparage clowns.) But she gave a good powerful speech.

And Shakira’s awful nails! (But she can sure roll her stomach!) Photo by Karen Salkin.

I was glad to see JLo there, looking so happy. I keep thinking what a downer Ben Affleck would have been that night, were they still together.

I loved all the dancers on the show.

It was good of Shakira to mention immigrants. I always like her. I’m so glad that her young sons seem so sweet. But she does win for worst nails—they’re the anti-Cynthia Erivo ones!

And finally–Cynthia Erivo’s Dragon Lady nails! Photo by Karen Salkin.

Will Smith should not have been on there. Nor anywhere near show business, actually. He looked fat and old and weird.

I hate to say it, but Miley Cyrus looks like an old transgender hooker!

Diana Ross actually looked great. But of course, actually; she would not have shown up otherwise.

Diana Ross. Photo by Karen Salkin.

Kendrick LaMar is sort-of simple and sweet.

Why did that annoying Blue Ivy think she had to lead her mother up to the stage when Beyonce won the Album of the Year award?! I bet Beyonce regrets having kids now.

And notice—she did not thank Jay-Z nor her kids.

Haggard-looking Beyonce, (with her “bust stays” sticking up on her boobs, when they’re supposed to be invisible,) and her 13-year-old daughter! Photo by Karen Salkin.

And that’s it for my thoughts on this year’s Grammys! But no worries if this isn’t enough snark honesty for you—upcoming are the Critics Choice Awards, the SAGs, and the Oscars. so, lots to look forward to.

One of the best, classiest, most fun, and most worthwhile events I attended in 2021 was The Foundation for New American Musicals (FNAM) All-Star Benefit and Fundraiser. So when I noticed it would be in the same exclusive venue this year, (the lovely garden of a private residence,) I knew I not only had to attend myself, but share all the info with my SoCal readers because the public is invited to purchase tickets and support the cause. This is one that every fan of Broadway musicals should not miss.

But let me not bury the lede—the special guest of the presentation portion of the program will be none other than…Billy Crystal! Seeing him is worth the price of admission alone.

The event will take place next Sunday, October 15, 2023 at 2PM in Pacific Palisades. (Address will be provided when you order your tickets.)

What the previous event looked like in 2021. See how exclusive it is? Photo by Karen Salkin.

The first part of the proceedings will be the cocktail reception, where the mingling begins. (It continues long after the show portion of the afternoon has ended, when we all have even more to discuss with each other!) The silent auction starts right away, as well. There were some beautiful items last time, so I expect more of the same.

And then the show begins. That’s where Billy Crystal comes in. He’ll be presenting the 2023 FNAM Inspire Award to multiple Tony Award-winner Jason Robert Brown, who composed the music for Billy’s recent Broadway show, Mr. Saturday Night. Jason’s co-awardee here is his wife, Georgia Stitt, who has her own very long list of musical credits, both as a composer-lyricist and performer herself. I’m impressed by such an accomplished couple who both have their own gigs in the same field, and can also work together from time to time.

The trio of FNAM honorees at the upcoming Benefit: Jason Robert Brown, Georgia Stitt, and Marcia Seligson. Photos courtesy of FNAM.

Along with the Awards, the afternoon will feature musical performances by some very talented artists. As a fan of his voice for years, I’m most excited to see Wayne Brady perform so up-close and personal. There will also be Chris Mann, (whom I still remember as the lone opera singer from the early days of The Voice,) along with Anastasia Barzee, Therese Curatolo, and Cheeyang Ng.

On a side note, I had the pleasure of chatting on the phone the other day with FNAM Board President, (and casting person extraordinaire,) Michael Donovan, who turned out to be a kindred spirit with me. Where has he been all my life??? (Oh wait—being super-successful, that’s where!)

An actress friend of mine had recently taken his class on how to audition, and before I got to speak with him, (and find-out for myself,) she told me that Michael is “lovely, funny, and smart”; she could not have been more correct.

The fabulous Wayne Brady. Photo courtesy of FNAM.

Michael is very enthusiastic about not only this upcoming special event, but The Foundation for New American Musicals, in general. In keeping with their raison d’etre, (which is to educate, mentor, and showcase the next generations of creators of musicals for stage, screen and new media,) Michael teaches his craft at Pepperdine, and directs their Senior Showcase. He had also done the same at my beloved UCLA, which I uber-appreciate because it’s where I first  stalked fell in love with Mr. X when I saw him on stage on just my third night in Los Angeles!  (And, much to his chagrin, the rest has been history.) Michael clearly lives up to the organization’s dedication to providing opportunities for talented newcomers to create and showcase their art.

In our hour-and-a-half convo, (and yes—I did let him get in a few words!,) Michael’s admiration of everyone involved in this event was quite apparent. He was able to reel-off so many credits of all the honorees, and we both talked about “how amazing” Bob Klein is. Bob is one of the organization’s founders, and at the previous fundraiser, he received their first Founders’ Award in recognition of “his considerable support for emerging writers of musical theatre.” Michael told me that at this one, Bob will, in turn, present the 2023 Founders’ Award to FNAM co-founding member, (and Broadway producer,) Marcia Seligson. Long-time LA musical theatre fans are always grateful to her for having created the Reprise series of very famous musicals at UCLA over the years. They featured so many shows that even I, a child of New York City culture, had never seen. It was a really joyous series of shows, and I thank her for all that happiness.

Just a tiny bit of the plentiful fare at FNAM’s previous Benefit. Photo by Karen Salkin.

The best part of the upcoming Benefit is that while we guests are having all that fun, the proceeds of the event will benefit FNAM and its programs. So you’ll be thoroughly entertained while being philanthropic at the same time. It’s a major win-win.

And even if you cannot join us this time, I highly suggest that all fans of musicals, and discovering new talent, check-out the Foundation’s work. It will be eye-opening.

For tickets and more information, please go to www.FNAM.us.

Chris Martin. (I tweeted that it must have been his laundry day!) Photo by Karen Salkin, (off the TV screen, as is the big one of Flavor Flav, above.)

Before the Grammys began on Sunday night, I was a bit negative in my thinking about the show because it always seems to be about the attendees trying to one up each other, or just get noticed. And there are tons of people I’ve never heard of.

But I must say, this was the best Grammys I’ve ever seen! I wound-up being a fan of several situations that bothered me a bit at first.

So I think I’ll save my thoughts on the arrivals for a bit later on in the week, and just get to the actual show, first with my overall impressions and then I’ll go in order of the telecast.

By the way, I did tweet about some of it, (my one about Chris Martin made Mr. X almost do a spit take!,) so if you missed those bon mots of mine, you can always go to @MajorCelebrity on Twitter and see them now.

OVERALL IMPRESSIONS

This Grammys presentation was so good that there really wasn’t much to make fun of. How disappointing.

Bad Bunny, opening the show, which is referenced later in this article. Photo by Karen Salkin, (off the TV screen.)

This was the absolute best Trevor Noah ever was! Just about everything he said worked. It was all very clever. (And, of course, he’s adorbs.)

Even though I’m a fan of his, I honestly don’t remember his previous hostings of this show being that great. But he really stepped-up this time.

I actually thought this innovation was nice: As different artists were about to perform, the person or people who introduced them were ones with whom they had a personal relationship.  I really liked that.

At first, I thought it was sort-of weird that the most famous audience members were seated at tables, in front of the main section of the audience. And they even were served cheese platters and drinks!  But, after I got used to the a-list being seated like that, I liked it. I had thought it a bit rude to everyone else at first, but then I realized that the producers were hooking-up the deserving people, such as nominees, performers, and other stars, so I got into it. (And that place is cavernous, so tons of music executives and other personnel are let in, along with a plethora of fans who are seated way in the back. So the people everyone wants to see should have that special treatment and not be mixed-in with the hoi polloi all night. Just sayin’.)

The VIP tables. Photo by Karen Salkin, (off the TV screen.)

Plus, that configuration made it interesting to the viewers, who got to see all the celeb interactions all night, because the stars were able to easily get up and mingle in commercial breaks. If they had been seated in the main audience rows, they would have to get up, go through their row, and out into the lobby to see each other. And none of that would be caught on camera. So this way was a win for everyone, (excepted the aforementioned cheap seat denizens.)

Even though the winners are supposed to be kept secret by the accounting firm, or whomever, until they’re announced, I have a feeling the producers knew that Beyonce was going to win her record-breaking award. Here’s my clue: James Cordon was the presenter for that one. Yes, he has been sort-of the darling of CBS, the network he has in common with the Grammys. But now that he’s leaving his show this year, the execs over there are not that high on him anymore. But…I noticed that one of his besties, Ben Winston, who also produces his late night talk show, produced this Grammys. So I deduced that Ben wanted to give his bud the honor of announcing that historic award. (Nice detective work on my part, eh?)

Viola Davis, who’s strange face is referenced later on in this article. Photo by Karen Salkin, (off the TV screen.)

My last general thought on this year’s Grammys is that I was actually glad the telecast featured a few stupid bits of having a group of “fans” sit around tables and discuss the *nominees, because it gave Mr. X and me the opportunity to get caught-up! (We were always a bit behind because of my tweeting, so, because we skipped these parts, we were able to end the show on time! That was a miracle!) *[Note: I really have no idea what they discussed because I didn’t watch even one second of it!]

Now on to the proceedings in the order they occurred, beginning with the opening number:

THE SHOW IN ORDER

Hey, Bad Bunny, thanks for getting dressed-up for the occasion!

Adle meeting The Rock for the first time! Photo by Karen Salkin, (off the TV screen.)

That fun opening reminded me of that old Spanish TV skit on SNL, where everyone jumps up and dances to wild music at the drop of a hat!

JLo. Photo by Karen Salkin, (off the TV screen.)

Trevor Noah introducing Adele to The Rock, whom she was dying to meet, actually choked me up a bit.

JLo always is exactly what a star should be. Great outfit, jewelry, hair, and…everything!

Now that he won a few awards, maybe Harry Styles can afford a bottle of shampoo!

What was up with Viola Davis’ weird face??? She looked awful. Her left eye was almost shut from being caked with make-up, and her nose looked like it had soot on it! But at least, for once, her nose wasn’t running.

Harry Styles and his filthy hair. Photo by Karen Salkin, (off the TV screen.)

I was very happy for ninety-year-old Willie Nelson to win an award, beating-out a bunch of young ‘uns.

During that wonderful, happy Motown tribute, everyone was smiling and bopping. I was doing the same, but then I found myself sobbing because it’s such a dying breed. [Note: The big pic at the top of this page is Flavor Flav, going crazy over the wonderful performances in this all-star jam session. He’s expressing what we all felt watching it, and his exuberance also expresses how I feel about this entire Grammys presentation!]

Smokey Robinson, still looking great and rocking out at…eighty-two!!! Photo by Karen Salkin, (off the TV screen.)

I love something Bad Bunny said when accepting his award. He said, “When you do things with love and passion, everything is easier; life is easier.” I hear ya, bro!

I hate to rag on Harry Styles again, but someone’s got to say it already—he looks like an idiot!!! He’s the worst dresser, but people are too scared to admit they don’t get it. That pretending is literally The Emperor’s New Clothes.

Just one of Harry Styles’ dreadful outfits! Styles has no style! Photo by Karen Salkin, (off the TV screen.)

Even though he’s a bit hard to understand, Kendrick Lamar gave a good speech. And do you know that five years ago, he actually won the Pulitzer Prize for Music? Wow. Good for him. (Now you can go on Jeopardy with that info.)

Madonna is just embarrassing. She actually begged for applause. And she looks like a hunched-over little old woman now. Sad, sad clown.

Crazy Madonna. Photo by Karen Salkin, (off the TV screen.)

Nelly was the only true hip-hop artist in that whole “tribute to hip-hop” section. The rest were actually rap stars. Maybe the producers just didn’t want to label it “rap” because it sounds tougher than “hip-hop.”

And they should have at least put the names of everyone who participated on the screen for the viewers. The audience may have known who the performers were, but we at home needed names. Even Mr. X, a krump dancer, and I, who used to be a hip-hop club promoter, (meaning I had nights at different clubs, and chose the DJs and guest list,) didn’t know who half of them were.

My one real negative of the entire show is that they named a big award after women-abuser, Dr. Dre, and presented him with the inaugural one. I’m not going to get into here, but please look up the topic to see just how many women, including a journalist he didn’t agree with, he’s beaten-up through the years. (I’m actually scared just writing this!)

Jill Biden. Photo by Karen Salkin, (off the TV screen.)

Why did The Rock have to mention that he and his wife were thrilled to be there? Other than that, he was kind of charming.

Having Jill Biden present an award, and a classy one at that, was a big deal for both the Grammys and for her. I’m glad she got a standing ovation. (But, for some reason it was the worst she ever looked. I think perhaps the stage lighting wasn’t flattering for the older peeps. Except for JLo, of course.)

I love the combo of two revered septuagenarians on stage together—Bonnie Raitt accepting her surprise, and major, Song of the Year award from Jill Biden.

Bonnie Raitt. Photo by Karen Salkin, (off the TV screen.)

Bonnie gave a perfect speech, which is extra-admirable since she really wasn’t expecting to win.

The best moment of the night for me was how happy Adele was for Lizzo when the latter won Record of the Year!  It literally choked me up to see that genuine reaction. About Damn Time is my favorite song of the year, and I had just read an article on Lizzo in Vanity Fair that afternoon, so that whole segment brought a big smile to my face.

I was not a fan of Olivia Rodrigo before, but her presentation was the best of everyone all night. There was not even one phony word, no errors, and I truly believe that she was genuinely happy to crown her successor as Best New Artist. Good for her.

Adele (on the right) being absolutely jubilant for Lizzo (on the left) on her win! (Which was over Adele’s own record, by the way!) Photo by Karen Salkin, (off the TV screen.)

And the winner of that award, jazz songstress Samara Joy, seemed to be the most grateful person of the evening. I love that someone who sings like an oldster won it.

I also loved this last bit on the stage: one of the “round table fans” they featured throughout the night was a little old lady who adores Harry Styles. Not only did Trevor Noah invite them all up to the stage to be there for the presentation of the biggest award of the night, Album of the Year, but when the “envelope” turned-out to say Harry inside, he let the old lady announce it! And then present the trophy to a very grateful Harry, who hugged her profusely! How lovely that whole segment was. (But it added to my theory that the producers knew some, if not all, of the winners beforehand.)

Harry Styles graciously receiving his big Grammy award from his thrilled little old lady fan, while his producers embrace in the background. Photo by Karen Salkin, (off the TV screen.)

It’s great that the Grammys ended on the long and gratitude-filled song, God Did. But it cracked me up that during all of that drama, (they performed it outside, with a Last Supper kind-of table,) a green freeway sign was visible. Perfect ending to an almost-perfect Grammys!

I usually wouldn’t even pay attention to something like Rolling Stone’s list of The 200 Greatest Singers of All Time, because, after all, aren’t all these “greatest” lists subjective? But this one caught my attention because the frequenters of the internet are outraged that left off the list—of two hundred singers, remember—is none other than…Celine Dion!!! That is an outrage! (And to do this now, when she just shared her devastating news that she may never sing again, is especially cruel.)

Celine Dion.

To the mind of many, she should stand atop it!

I do have to admit that I’m not a fan of her songs, but I totally recognize that she is one of the greatest singers ever! So, knowing that Celine is not on it, that inane list had me pissed-off before I even got a gander at it. The same for Mr. X. And we kept getting more hot under the collar as we went through it all.

Remember—this is a list of the greatest singers, not performers nor songwriters, nor the most popular people in the field. Singers. Period. That’s why so much of it is maddening.

Every now and then, as we perused it, we’d come upon a name, such as David Ruffin, (the original Temptations lead singer,) and we’d both go, “Yes!” But more often than not, we were beyond disgusted and befuddled that people like Ozzy Osbourne and Courtney Love were on there at all, and not even near the bottom of the list!

Oh, and they’re both ahead of Barbra Streisand!!! Rolling Stone has her at #147! Who wrote this list??? Surely no one who knows much about music. (By the way, I dislike Barbra personally, for reasons you’ll just have to wait for my book to learn about, but her singing ability is undeniable.)

So, here are my own Top 10 Singers of All Time:

The astonishing Ali-Ollie Woodson, singing his guts out.

1—Ali-Ollie Woodson, the Temptations’ third lead singer. I’ve seen him perform solo several times, once as up-close as you can be to a person without performing the vertical mambo, and that man sang with every fiber of his being. I’ve honestly never seen anything like it before or since. [Note: He tragically passed away in 2010. If you have time, please read my tribute to him here, so you can understand his greatness a bit: itsnotaboutme.tv/news/miscellaneousali-ollie-woodson-rip.]

2—Adam Lambert (I say this as someone who has seen him perform live a few times, mostly before he was famous, and I could barely catch my breath at the magnificence I was witnessing. I tried my hardest to get him noticed back then, to no avail. But I did give him a lot of convincing reasons to audition for American Idol, which I hope Adam remembers, even a little bit.)

3—Barbra Streisand, (whom, as I mentioned above, I dislike personally, but I’m a fan of fairness and honesty, so here she is.)

4–Patti LaBelle

5–Jennifer Holliday

6—Whitney Houston

7–Jennifer Hudson

8—Luther Vandross

9—Sammy Davis, Jr.

This is actually how I met Patti LuPone–I was a guest on Life Goes On, which she starred on, here with Ray Buktenica as her adverserial-but-secretly-kind boss.

10–Patti LuPone (She’s another one with whom I have a personal beef, but that does not negate her superior singing talent.)

That Top 10 is followed closely by, in no particular order: Barry White, Paul McCartney, Ronnie Specter, and David Ruffin, who are all on Rolling Stone‘s, as well. But mine also features Andra Day, Hugh Jackman, Maxwell, Eva Cassidy, Lea Michelle, Tori Kelly, Celine Dion, Johnny Mathis, and Tony Bennett, all of whom did not make Rolling Stone’s Top 200. Insane. (And, of course, my two dark horses–Gerry Marsden and Martin Short—didn’t make their list, either.)

The beautiful late Eva Cassidy.

I’m sure many others would also include Elton John, Willie Nelson, Linda Ronstadt, (who are all on the list,) and Sting, as well, who I was shocked to discover, is not on it!

By the way, as I went along, I did have to keep reminding myself that the list is of the best singers, not necessarily the best voices, and there is a bit of a distinction there. And, just to remind everyone, including Rolling Stone, I published a list entitled My Favorite Voices of All Time right here in ItsNotAboutMe.TV…almost a decade ago!!! But I guess it’s flattering to be imitated, right? (You can still read it here if you’re curious; it’s way shorter than 200!: itsnotaboutme.tv/news/list-my-favorite-voices-of-all-time.)

My previous article on the very same topic, a decade before Rolling Stone published theirs!

So here are some singers who are on the list, deservedly so, in my opinion: Bonnie Raitt, Alicia Keys, Marc Anthony, Benda Lee, Amy Winehouse, George Strait, (of whom Mr. X is a big fan,) Darlene Love, Christina Aguilera, (who they put as only #141, when she should be at least #20!,) Neil Young, Donny Hathaway, Jackie Wilson, (whom I was very happy to see on there,) Michael Jackson, Steve Perry, Janis Joplin, Minnie Ripperton, Sade, Joni Mitchell, Ella Fitzgerald, Teddy Pendergrass, Etta James, Louie Armstrong, Curtis Mayfield, Smokey Robinson, Marvin Gaye, Frank Sinatra, Elvis Presley, Stevie Wonder, Mariah Carey, Otis Redding, and Sam Cooke. And, of course, Aretha Franklin, but, in my humble opinion, she’s far from being #1, where Rolling Stone has placed her.

I have no problem with some of the others, but there are many people on the list who should definitely not be: Iggy Pop, Lana Del Rey, SZA, Debbie Harry, Dion, (whose songs I absolutely adore, especially Runaround Sue, during which I cannot ever sit still, so please play it when I’m declared deceased, just to make sure that I really am dead before burying me!, but he’s still not one of the 200 greatest singers of all time!,) Levon Helm, Ozzy Osbourne, Courtney Love, Lou Reed, Roger Daltrey, Leonard Cohen, (who’s a wonderful songwriter but an awful singer,) Taylor Swift, (same as Cohen, with the added bit of being a genius marketer of herself along with a wonderful performer and show put-together-er, but not a great singer,) Usher (marvelous dancer, but mediocre singer,) Chuck Berry, and nails-on-a-chalkboard-sounding Bjork, of all people!!!

In case you can’t tell, I do not think of most metal, punk, or grunge people as the best singers in the world. And then there’s the added confusion of many on this list being famous foreigners, of whom I’ve never heard, so I can’t judge them. But I still doubt that any of them deserve to be above Barbra Streisand!

And why are there no opera singers on their list? Some of them, (Enrico Caruso, Placido Domingo, and Maria Callas,) are probably the greatest singers in history!!!)

Karen Salkin and Adam Lambert. We included this pic just for fun. We were at a party after one of Adam’s pre-fame performances. It’s where I tried to convince him that he needed to be on American Idol.

Maybe the music mag was just trying to be controversial, knowing they’d get more eyes on their article if everyone was upset by some major omissions, but that’s not the job of a reputable magazine. (Or maybe they just are not one!) All publications need to do the right thing, always.

In case you’d like to see this head-scratching list for yourself, here’s the link: www.rollingstone.com/music/music-lists/best-singers-all-time-1234642307.

And please share who you would add or delete to your own list of The 200 Greatest Singers of All Time in the Comments section below. I’d love to see everyone’s.

[Note: On a show business-related note, I’m going to try to live-tweet the Golden Globes tomorrow night, @MajorCelebrity, but if I get too involved with the show to split my attention, I’ll publish my full review of the festivities sometime next week.]

I love discovering new places, everywhere in the world, but especially in my very own city. And it’s always even more fun when an out-of-town friend is the one to introduce me to one of them.

Noelle Hannibal.

Well, that’s exactly what’s happening this week.  Even in my days of being known as The Queen of Clubs, I had not heard of The Bourbon Room. (Perhaps that’s because, despite the burly men I’ve now seen standing guard outside, it appears to be a music club as opposed to a dance one, the latter of which is what I was the promoter of way back when.)

And I still hadn’t heard of it until I found-out that lovely singer, Noelle Hannibal, will be appearing there on October 6th!  I’m proud to say that she’s a good friend of mine, who’s headquartered in Montreal now, where she runs a musical theatre company, In The Wings Promotions. And, oh–she sings beautifully! Her cabaret shows usually feature mainly show tunes, but this time she’s performing her original tunes along with some covers, which I can’t wait to hear.

Noelle is actually in Los Angeles this week because she just took part in this past week-end’s big HorrorCon, signing autographs, meeting fans, and taking pix with them. All that is because she portrayed the first female Vulcan on Earth in Star Trek: First Contact back in the day. For you sci-fi fans, you might also know her from Star Trek: Voyager, where she appeared as a Taresian woman, or as part of the “Sisterhood of Jhe” in Buffy, The Vampire Slayer.

Robert Rankin Walker.

On Thursday night, Noelle will not be alone, either. She’ll be performing at The Bourbon Room with her good friend, singer-songwriter-guitarist Robert Rankin Walker. I’m not familiar with him, but he looks fly in their promo pic on the venue’s site, which is good enough for me!

The duo will be appearing in the intimate Lounge at the club, which should make it a cozy event, like we’re all friends. That’s a feeling I love. I understand they’ll be accompanying themselves on acoustic guitars, which should be enchanting.

The Lounge at The Bourbon Room. But no worries, fellow animal-skull haters—I’ll keep my focus on the performers and not on the horrible antlers, etc. that I inherited my mother’s extreme aversion to!

I’m really looking forward to hearing Noelle’s alluring voice in person again. And at just $15./person, it’s such affordable entertainment that I hope that all my fellow Angeleno music lovers will join us in the Lounge of the Bourbon Room this Thursday, October 6.

For tickets and more info: www.ticketweb.com/event/noelle-hannibel-robert-rankin-the-bourbon-room-tickets/12447715?pl=BourbonRoom&fbclid=IwAR3juD-abjBUyiDRe6AeZLnqoy9-zkEZS04h3-f0ITUWv1GwbW07pYgzLRk

This show is yet another winner at the Wallis. I have so much confidence in that theatre that I even left my obsessive Wimbledon-watching to see Hershey Felder: Chopin In Paris! And I was rewarded with a charming production.

Hershey Felder. Photo courtesy of Hershey Felder Presents, as is the one at the top of this review.

It’s billed as “a play with music,” but it’s so much more than that. Mr. Felder basically gives us the highlights of Chopin’s life, of course portraying the master composer himself. Along the way, he performs several of Chopin’s most famous piano compositions, some just snippets and others longer selections. If you’re someone who likes to close your eyes while listening to live music, I suggest you don’t do that for the last piece, (you’ll know which one it is,) because seeing him work is half the fun.

To make the entire offering even more engaging, “Chopin” welcomes the audience as his “students” for the day, so he can interact with them by taking questions, always in character, at a few points along the way. The queries on opening night were actually pretty good, and Hershey gave excellent answers.

That’s also why the theatre’s estimate of Hershey Felder: Chopin In Paris being only ninety minutes long is likely way off in most cases. On opening night, the presentation ran over two hours. It could easily have gone on even longer as far as the audience was concerned, but Hershey brought it to an end at just the right moment. [Note: If you think you’ll need the restroom before it’s over, make sure you ask for tickets on “stage right.” And that’s where you’ll want to sit, anyway, if you’d like to see his hands when he plays.]

Hershey Felder as Chopin, whom he looks sort-of like, don’t you think? (See image below.) Photo courtesy of Hershey Felder Presents.

It’s actually pretty amazing that he’s able to answer everyone’s questions as Chopin, which means that he has sooo much knowledge about the man’s life! My friends call me the “human GPS” because of my directions-giving ability, so, in turn, I’m declaring Hershey to be the “human Wikipedia!” (Except that he appears to be so much more informed than that site.) On opening night, one woman asked him something to the effect of if he (Chopin) had any outstanding student prodigies. And without skipping a beat, he told us about the only one, demonstrated the kid’s playing style, and even imparted details about the guy’s death! All off the top of his head!!! Most of my friends don’t know what they had for breakfast!

In case you’re not familiar with Hershey Felder, he is widely known for writing and performing informative and entertaining one-man shows as classic composers. He’s basically created the theater version of a cottage industry for himself. No one else can do what he does.

Fryderyk Chopin. (Do you see the resemblance to Hershey Felder?)

I’ve seen several of his productions before, but always on a big stage, such as the main Bram Goldsmith Theatre right there at the Wallis. But this time, the play is being presented in their intimate Lovelace Studio Theatre, which is the perfect venue for it. The space is so much more conducive to audience participation. Actually, it’s better in every way!  I almost felt like I was at one of the Paris salons he tells us so much about in the narrative. So, kudos to whoever had the great idea to present Chopin In Paris in the Lovelace. (And yes, it is “whoever,” not “whomever.” The very easy rule is: If you can substitute “he,” there’s no “m” in there. If it’s “him,” there is one. Just say it to yourself, and listen for the “m.” In this case, it would be, “He had the great idea…,” so the correct word is therefore “whoever.” As Hershey Felder appears to do, I’m always happy to take any opportunity to educate.)

The first thing that struck me as we entered the theatre is just how gorgeous the set is, which, of course, Hershey also designed. (Is there anything that man can’t do???) But some audience members told me afterwards that a thick piece of material that was seemingly unnecessarily draped from the piano blocked their view of his hands when he played, so perhaps he should re-think that positioning a bit.

Erik S. Barry’s stage lighting is varied and excellent, and Erik Carstensen background projections, which are seen outside the window of Chopin’s Paris home, (where this “lesson” is taking place,) are absolutely spot-on every step of the way. I loved watching them subtly change to match what was happening at each point in the tale.

Photo courtesy of Hershey Felder Presents.

There are a few other aspects of Chopin In Paris that I also especially appreciated. One is Felder’s actual piano skills. He makes even the basic funeral music that we all know, (I have no idea what it’s called, but you’ll know of what I speak when you see the performance,) sound beautiful. I almost didn’t want him to stop that heartbreaking piece!

I also admire that he really gets into every character and scenario, whether acting out a tragic scene or just joking with the audience.

And because of those interactive sections, if you’re a major fan, you can see the show over and over again, and never see the full same play twice.

On a personal note, every time I see a Hershey Felder production, I’m reminded how magical musicians are. And then I think about my own lack of musicality. Three-fifths of my family are musical, with my brother being a professional since the day he graduated from college, which is a rarity in the biz. The only few pieces I can still play by heart from all my years of piano lessons are from the first Schaum green book, (with the highlight of my repertoire being the one-handed Putt, Putt, Putt, Putt, Putt, Putt, Putt Goes The Flashy Speedboat,) and I somehow played flute for a couple of years, (I use the word “played” extremely lightly,) only because the male teachers had crushes on me, so they told my parents I was talented to make sure they would get to see me in class every day. (But at least my wasted flute started my brother’s long career, so there’s that.) So when I see one of Hershey’s shows, the personal harking back it brings up makes me always appreciate his extraordinary talent even more.

As you can tell, I’m highly recommending Hershey Felder: Chopin In Paris. But hurry; it’s at the Wallis, (my favorite theatre,) for only a few more weeks. And to make it an extra special outing, be sure to get there a bit early to spend some time on the lovely Wallis patio with other music and culture lovers. And perhaps afterwards, as well. On opening night, I even spied a woman out there, producing a giant bust of Chopin from her bag for Hershey to autograph! And he seemed more than happy to, which I could tell made her whole summer. I just wonder if he signed it “Hersey Felder” or “Fryderyk Chopin.” In the case of this play, it’s hard to distinguish them from one another. And that’s a good thing.

Hershey Felder: Chopin In Paris running through July 24, 2022
The Wallis—Lovelace Studio Theatre
9390 N. Santa Monica  Boulevard Beverly Hills 310-746-4000 www.thewallis.org