Spotlight On…Roseanna Vitro

Photo credit: Devon Cass

I’ve only had the pleasure of meeting Roseanna Vitro in person a couple of times, but I’ve been aware of her as a singer, writer, and teacher for a long time. A Grammy-nominated vocalist, Roseanna has performed and taught all over the world. Her projects are ambitious and eclectic: among her many endeavors are tributes to her Southern roots (she hails from Arkansas and began singing jazz in Texas), as well as the songbooks of Clare Fisher, Randy Newman, Ray Charles and Charlie Parker.

I’m moved by the openness and generosity of Roseanna’s answers to the Spotlight On… questions. There’s a lot of wisdom to be gleaned from this interview. Thank you, Roseanna!

Who or what inspired you to pursue a life in music?
I knew I would be a singer since the age of four. My mother, Ruby Mae, is ninety years young and still singing. Her sisters and brothers were all gospel singers. My mother is my inspiration. I sing about everything; it’s in my DNA. Music comforts my soul.

In the course of your musical development, what has come most naturally to you? What has been the most challenging?
It was always natural to sing in every possible situation and style of music. When I was young I sang in school programs, competitions, madrigal groups, classical All-State choirs in German, Italian, Latin, and French, theater repertoire, southern gospel and rock ‘n’ roll bands, and folk music. I was solid in my direction. The challenges were “looking the part” and discipline combined with focus. My wild and passionate personality did not lend itself to sitting in a practice room alone with my metronome and scales.

Photo credit: Paul Wickliffe

It has been most challenging to understand I must practice a vocalese solo, like “Moody’s Mood for Love,” much longer than some other singers who are blessed with perfect pitch and a photographic memory. I wanted to conquer every style and sing it as well as the masters. But as you grow up you begin to recognize the types of songs, lyrics and melodies that flow the most naturally out of your voice. The recognition of my shortcomings has not stopped me from choosing difficult melodies plus singing with and listening to the greatest instrumentalists. I take vocal technique lessons every month in my efforts to deal with an aging voice as well.

How do you choose your repertoire? What makes you decide to sing a particular song?
I was always hungry to learn songs that spoke to my heart first, then intellect, and always [with] a rhythm that moved me. The songs you choose say to the world “who you are.” I learned the popular songs and repertoire I needed to become a club date/party singer in my early 20s, once I was adopted by jazz musicians in Texas.

I can feel it to my toes when I’m singing a truth. Some songs you simply have to sing; you have no choice. Songs like “So Many Stars,” “You Are There,” “I Think It’s Going to Rain Today,” “Certas Canções,” “Long As You’re Livin’,” “Happy Madness,” “Waltz for Debbie,” “But Beautiful.” I think of repertoire as a collection of songs that fulfill my personal mandate for happiness: A) songs that speak to your heart, B) songs that make a statement about life, C) songs that are silly and fun, D) songs with deep grooves…they just feel good.

If you were to choose another profession, what would it be?
I wouldn’t have chosen another profession. I have discovered I can blend into a corporate atmosphere if I have to. I learned I am a good teacher for over-sensitive, talented singers who don’t fit the cookie cutter model. I love gathering vast amounts of information for singers and sharing in our community. I totally dig producing vocal projects at this stage because I love other singers. I have enjoyed the challenge of writing, “Voices in Jazz” for Jazztimes.com, interviewing famous and not famous singers. It’s always about singing and enjoying your life, helping others, and my best gig is being a mother. But, there isn’t another profession for me.

Photo credit: Janis Wilkins

What’s the best piece of advice you’ve ever received, on or off the bandstand?
I’ve received much advice in my long career. I’ve made major mistakes which cause me to wince even now. I think the most important advice I needed to digest and still work on is keeping my mouth closed when I’m nervous or anxious. Just sing, don’t talk.

Fun fact:
This isn’t actually a fun fact. I think the “nervous” factor is a quirk. I guess being “silly” would be my fun quirk in response to nerves. It’s taken me years of looking back to understand how fear or deep feelings like: “I’m good, I know I have something special to offer” versus “I’ll never be good enough” affect your mistakes.

The wisdom is: Music is a business, and business has no feelings. It’s just business. Enjoy your music, don’t be too hard on yourself, don’t let your success rely on the big power brokers in our business. If you’re happy, you are a success.

Roseanna will be performing at Maureen’s Jazz Cellar in Nyack, NY on August 5. For those of us in NYC, mark your calendars for August 12, when she’s bringing “Bossas and Ballads on a Summer Night” to Jazz at Kitano!

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Spotlight On…Andrea Wolper

Vocalist Andrea Wolper is a fellow Brooklynite. We met through mutual singer friends a couple of years ago, and I was immediately drawn to her warmth and keen intelligence; she and I spent a lovely afternoon last spring walking and talking in the Brooklyn Botanic Garden. In addition to her singing and teaching, Andrea is also a curator, activist, journalist and poet, a fearless improviser, the past president of International Women in Jazz, and a black belt in Shotokan Karate. All this to say, I have no idea how she found the time to do this interview for my little corner of the internet, but I sure am glad she did!

Andrea’s thoughtful responses to these Spotlight On… questions hold a lot of wisdom, as well as evidence that she and I both love the Oxford comma. In particular, I find her remarks about building on one’s strengths and making peace with one’s limitations very timely and powerful.

Thank you so much, Andrea (and I’ll join you in a stationery store any time)!

Who or what inspired you to pursue a life in music?
It started with my mom, who had been a semi-professional singer before she got married. I have a picture by my desk of us singing “Sonny Boy” together when I was about five, and I was always singing, making up songs, putting on little shows. Skipping ahead a few years, I started as an actor, took an overlapping side road as a freelance writer/author, and eventually added music back into my life just because I really missed singing. I didn’t have a plan at that point; I didn’t know that music would become my primary professional focus. I just wanted to sing. So I took some steps and found myself on a path, and at some point I realized it felt like MY path.

In the course of your musical development, what has come most naturally to you? What has been the most challenging?
Just singing is what came most naturally. Learning what to do with that, and always trying to be braver, freer, more honestly myself is a lifelong process that’s challenging and exhilarating. Learning music theory as an adult (who didn’t go to music school) certainly has been challenging. Identifying and building on my strengths and making peace with my limitations has been a challenge, but that balance shifts over time. And even after all these years I find the business aspects of being a professional musician extremely, sometimes excruciatingly, difficult.

How do you choose your repertoire? What makes you decide to sing a particular song?
I often have a strong yes or no reaction to songs. But I’ve learned to keep an open mind because there are two songs in my repertoire that I reflexively, vehemently rejected when they were suggested to me. They’re actually great songs; I just had to find my way into them, and when I did, they ended up being favorites. I always want to feel an emotional connection to a song, to bring something genuine and personal to it. And I want songs to make sense in the context of what I’m doing. I’m also a songwriter, and a couple of my own aren’t good fits for me, even though they’re decent songs; and some feel right for certain gigs, but not for others. I’m lucky that I get some sideman work, and singing music written or chosen by other people is a whole other thing. Or is it?

If you were to choose another profession, what would it be?
There’s a Cole Porter song, “Which?” that touches me. It goes, “Which is the right life, The simple or the night life?…Should I read Euripides or continue with The Graphic? Hear the murmur of the breeze or the roaring of the traffic?” I want to experience everything.

I’m like a kid who says, “I want to be an astronaut, a teacher, and a movie star,” only I’ll say a doctor, an investigative journalist, and a dancer, and a human rights lawyer, and a shop owner…and a movie star!

What’s the best piece of advice you’ve ever received, on or off the bandstand?
“Just keep working.” I moved to New York to attend the Neighborhood Playhouse. One day I went to ballet class in tears over some silly drama. The teacher, Mrs. Cole, floated by me and very quietly said those three words. They may not sound like much, but they held a world of meaning. I shifted my focus away from how upset I was and onto pliés, and everything changed. It was a powerful moment.

When I started out doing gigs, I used to worry when someone in the audience asked me to do a song I didn’t know, or told me I reminded them of a singer I didn’t relate to. The guitarist Michael Howell told me it wasn’t so much about that song or that singer: “They like you, and they’re trying to connect with you.” Again, simple words of wisdom that helped me a lot. Oh, he also told me, “When you’re writing your charts, make the chord symbols big enough that the musicians can see them.” That was some good advice!

Fun fact:
I get excited in stationery stores. I earned a black belt in Shotokan Karate. And I am very serious about coffee.

Andrea is performing a concert dedicated to her late mentor, pianist/improviser/teacher Connie Crothers, at the Renee Weiler Concert Hall (Greenwich Music House) on Saturday, June 3 at 7:15pm. There is no cover and it promises to be a beautiful and moving evening of music. Don’t miss it–more details can be found HERE.

The Song Is You

“You’d never know it, but buddy I’m a kind of poet, and I’ve got a lot of things to say…”

He was seated at the piano, playing and singing “One for my Baby (and One More for the Road)” when I walked into Tula’s in September, 2001. “Who,” I thought, “is that?” How was it possible that, of all the singers and pianists in town, I had never met this particularly young and handsome one? As is wont to happen in the brash bloom of youth, our eyes met from across the room and that, as Rick famously said in Casablanca, was the beginning of a beautiful friendship.

I learned that Joshua was stranded in Seattle that week. He’d been visiting his family when the planes hit the World Trade Center in his adopted hometown of New York City, and all the flights were grounded, all the airports closed, so he couldn’t get back to his Harlem apartment. Not knowing quite what to do with ourselves in those frightening and disorienting days after the 9/11 attacks, we both sought sanctuary in the local jazz club.

When I moved to New York a couple of years later, Josh met me for dinner. His relaxed kindness told me that, even though I was broke and overwhelmed and had no idea whatsoever what in the hell I was doing, I had a friend in New York City. A while later, when Ray Passman heard me sit in with Bob Dorough at the Iridium and decided to “present” me in my first New York solo show at the Triad, I called Joshua to play piano. I was as green as grass and did everything wrong, but I still remember the gentle 12/8 feel Josh brought to our rendition of “Tis Autumn,” and how the room seemed to stand still for that tune.

He came with me once to my hometown of Wasilla, Alaska, where we played a Christmas show; we duetted on “Baby, It’s Cold Outside” and switched the roles, with him singing, “I simply must go…” and rebuffing my wolfish advances. He stole the show, of course.

Josh had a way of showing up at exactly the right moment. I had a brief stint singing with a country band, and we played a gig on the Upper West Side one summer night in 2012. To my delight, Josh was in the audience. In fact, he may very well have been the audience. We caught up on the set break, and a few days later he sent me a note asking if I’d like to perform a holiday show with him that November in Pinehurst, North Carolina, where his brother had founded an orchestra. Josh opened that email by asking me, “How ya doing, cowgirl?” I gleefully accepted his invitation, and that autumn, we shared a wonderful weekend of barbecue and music.

Four years ago, another email appeared in my inbox, this time from Josh’s dad. I was in the elevator on my way up to my apartment when I checked my phone and read the news of Josh’s recent hospitalization and subsequent diagnosis of stage IV pancreatic cancer. No treatments could be undertaken or explored beyond keeping him comfortable. In a trance, I exited the elevator and tried, again and again, to turn my key in the lock. It wasn’t until a neighbor in the hallway said, not unkindly, “um, hello,” that I realized I’d gotten off on the wrong floor and was standing in front of a stranger’s door.

I am infinitely grateful for the time spent in the hospital with Josh and his loved ones in the days before his death. Even today, four years later, those hours are too surreal, too painful, too dear to write about. There was singing, there were tears, there was—somehow—laughter, and there was a palpable cloak of compassion enveloping us all that I, an avowed non-believer, can only describe as holy.

It is tempting to withhold forgiveness forever from a world that would silence Josh’s music so abruptly, so cruelly early; he was just thirty-nine years old. But the world doesn’t ask for forgiveness, and anyway, didn’t it give voice and breath and life to Josh’s song in the first place? Where does that leave us? What are we to do with ourselves in this perplexing and infuriating and beautiful life, overflowing with loss and tenderness?

Sing, I think. We are here to sing at full voice, to live right out loud, heedless of the occasional dissonance or cracked high note. And may our music, like Josh’s, be a balm, a window, a catalyst, and—above all—a gift for whomever is listening.

January: Looking back, looking ahead

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Gorgeous Water Island, USVI.

January was cold and gray, both metaphorically and literally. Between December 26 and January 31, I was in the throes of one minor-but-miserable ailment after another. The final tally? Two stomach bugs. One weeklong bout with influenza. Two colds. Oh, and one inauguration. (Zing! I’ll be here all week. Tip your server.)

Oy vey.

There were some lovely moments in the first month of this new year, however. Despite my hacking cough, I had a wonderful gig at Mezzrow with pianist Ehud Asherie. Then, it was off to the Water Island Music Festival for sun, fun, fish tacos, and lots of music (until the final night, when my G.I. system turned against me…again).

Just a few days after returning home from the Caribbean, I was in transit again; this time, for a brief Duchess tour in Ontario. It felt somewhat poetic to be flying to Canada on Inauguration Day, although we were all bummed to be missing the Women’s March. We spent our entire trip cheering on our marching friends and sharing pictures of hilarious protest signs and poignant moments on social media.

I got yer #NewYorkValues right here.

I got yer #NewYorkValues right here.

It was in Waterloo, Ontario that cold #2 descended upon my sinuses, and I made it through that last gig on Sudafed and an act of will. A few short, sniffly hours of sleep, one flight, and one taxi ride later and I. Was. Home.

Sleeping in my own bed for the past couple of weeks has been deeply restorative. The Spanish-themed potluck dinner we shared with a few dear ones last weekend was a balm for both body and soul. Joining throngs of protesters at the #nobannowall protest in Battery Park was invigorating. And I’ve felt well enough to recommence running for the first time in well over a month.

Looking ahead, the new Duchess CD, Laughing at Life, is coming out on February 10; we’re hitting the road again mid-month for a short midwest tour. Our new podcast, Harmony & Hijinks, is now launched and you can listen for free on iTunes, Stitcher, or the Duchess site (I implore you—please subscribe and leave us a review!).

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The new podcast from Duchess. Give it a listen!

The bird and the bee tribute I recorded in collaboration with drummer Charles Ruggiero is in the final stages of post-production, and I’m headed into the studio this week to mix the piano/vocal duo CD that I recorded in December with Ehud.

So, yes. This may be the winter of our discontent, but there is music to be made. Onward.

In January, I…
Blogged about: December. Singer-friend Rebecca Kilgore.

Read: Orphans of the Carnival, by Carol Birch. This vividly imagined novel about 19th-century circus freak Julia Pastrana (a real person) was an engrossing read. Gentlemen Prefer Blondes, by Anita Loos. A tour de force of comedic writing: subversive and rife with social commentary, but dripping with diamonds and “dumb blonde” parlance. Edith Wharton called this book ‘The Great American Novel,’ and I’m inclined to agree. The Muse, by Jessie Burton. This book was a slow burn, but rewarding.

Watched: I Love Lucy. I watched episode after episode the week I was sick with the flu. I used to watch reruns when I was home sick as a kid, and it’s as brilliant and hilarious and comforting as ever. Top Chef. I’m totally addicted. The Young Pope. YOU GUYS. This show is Fellini-esque and beautiful and dreamlike and really, really funny. As a lapsed Catholic, perhaps I’m predisposed to love its irreverence, and as a person with eyes, perhaps I’m predisposed to love looking at closeups of Jude Law…but, whatever the reason, I am obsessed with this show.

Listened to: The Beast, by Jerome Jennings. I’ve known Jerome for almost 14 years (!!) and am a big fan of his, personally and musically—he played drums on my CD, The Great City. Jerome’s debut solo recording is swinging, soulful and socially conscious. He’s managed to pull off that most difficult of feats: he’s made an album that is far-reaching and eclectic, but deeply personal and cohesive. Congratulations, Jerome!

Spotlight On…Rebecca Kilgore

rebeccakilgore1I’ve been a fan of Rebecca Kilgore‘s for many years, now. I remember the first time I heard her sing “I Told You I Loved You, Now Get Out.” I loved her insouciant, intelligent interpretation and sought out more of her recordings as soon as possible. She’s a girl after my own heart—a real song hound who brings little-known, seldom-performed songs to life and makes them her own.

Rebecca’s records often center around a theme, whether paying tribute to a specific singer (Maxine Sullivan), composer (Frank Loesser, Jerome Kern), or an entire gender (I Like Men), and her singing is a natural extension of her disposition: warm, unaffected, and generous.

Rebecca is based in Portland, Oregon, but we lucky New Yorkers have her in our midst this week, and it’s not too late to get your tickets for this evening’s show at the Metropolitan Room. Don’t miss it! To tide you over until then, she has taken time out to answer a few questions for the Spotlight On… series. Thank you, Becky!

Who or what inspired you to pursue a life in music?
My dad was the choir director at the Unitarian church I grew up in (in Massachusetts). He wrote music for the choir, and was always writing music at home. My sister and I used to play recorder duets when we were small.

In the course of your musical development, what has come most naturally to you? What has been the most challenging?
Finding material is the easiest thing for me. I have a long list of tunes I yearn to learn, and it never gets any shorter no matter how many I learn. Most challenging for me is the fact that I make all my charts/lead sheets, with the exception of when I work with Harry Allen and/or Dan Barrett, which is great. I studied basic music theory but wish I had studied harmony and counterpoint.

rebecca-kilgoreHow do you choose your repertoire? What makes you decide to sing a particular song?
I admit I’m a sucker for a beautiful melody. But the song must also have a compelling story which is economically told. The song “Heart’s Desire” with music by Alan Broadbent and lyrics by Dave Frishberg excels at both music and words.

If you were to choose another profession, what would it be?
I studied fine art in college, and still like design, so it would be something in the visual arts.

What’s the best piece of advice you’ve ever received, on or off the bandstand?
Hmmmmm…. That’s interesting. Someone told me a singer should be able to sing a cappella and still convey the beat, rhythm, and swing. Don’t lean on the rhythm section to do it for you.

Also, working with Dave Frishberg was always an education for me, not by anything he came out and said, but by listening to his musical decisions and good taste.

Fun fact:
I don’t like to be the center of attention!

Rebecca is performing tonight at the Metropolitan Room. Get your tickets HERE and treat yourself to an evening of thoughtful, joyful, elegant music-making!

Spotlight On…Gabrielle Stravelli

dsc_7444Warm. Witty. Expressive. Open. Wise. You could apply any—or all—of those adjectives to Gabrielle Stravelli, and you’d be right. She is a good time gal with a whip-smart intellect and a big heart. Gabrielle sings with an effortlessness that belies her musical precision and finely honed vocal technique.

In short, I’m a fan.

I was delighted when she asked me to be a guest on her podcast, Big Modern Music, last year. We had a blast getting to know each other and talking at length about repertoire, song interpretation, and making one’s way as an artist in New York City (you can listen to the full episode HERE).

When she’s not hosting her podcast or traveling throughout the world on US State Department tours for American Music Abroad, Gabrielle is making beautiful music. And Tuesday night, December 13, she’ll be taking the stage at SubCulture to celebrate the release of her new album, Dream Ago. (Rumor has it that DUCHESS will be joining her for a tune!)

To tide you over until then, here’s Gabrielle’s delightful interview for the Spotlight On… series. Thank you, Gabrielle!

Who or what inspired you to pursue a life in music?
I have to give my parents credit for encouraging me to pursue a life in music—despite the fact they are not musicians, nor is there a single musician in my family besides me! I have loved singing and music as long as I can remember, and I was fortunate that they recognized and supported that. My parents were real music lovers and played a lot of music from many different genres in the house growing up. I think that was a big influence on my musical taste; I’m pretty adventurous and don’t really consider any kind of music “off-limits” for exploration.

gabrielle047In the course of your musical development, what has come most naturally to you? What has been the most challenging?
What a great question! I think I’ve always felt comfortable being “fluid” in performance, by which I mean that I never mind if things are played a bit differently or if a player wants to do something spontaneous. I’ve never needed things to be the same each time; even when I was a kid I liked to roll with changes and react to the music in the moment.

The most challenging thing for me has been developing confidence on stage. I’m not shy but I am quite private and being on stage felt so vulnerable for such a long time—in my early days I think I would try to hide while I was on stage, which just doesn’t work. I had to learn to give myself permission to “take [the] stage” and to be comfortable projecting that feeling of “I believe in what I’m doing and you should, too!”

How do you choose your repertoire? What makes you decide to sing a particular song?
I’m always asking musicians for song suggestions and I’m so grateful when someone really gives me something out of left field. I also worked in a record store for several years, which opened me up to so much stuff I might never have discovered. Like so many singers, the lyric is probably the biggest factor. You can reharmonize a simple song, but it’s pretty hard to take a song with a vapid lyric and make it work. However, if I really like a song and it’s super short or there’s not too much meat to it, I’ve gotten comfortable writing extra lyrics so that there’s a little more to the song.

If you were to choose another profession, what would it be?
I’d love to say that I’d go into engineering or quantum physics, but the truth is that if I didn’t sing, I’d do something in fashion. I love color and pattern and I have always loved clothes—in high school I was the weirdo wearing vintage sailor outfits or items that I would find at a thrift store and deconstruct. I really do believe that clothing is always costume and that what people choose to wear is such a powerful statement of how they want the world to see them.

10959981_919499088083616_9101897692445801490_oWhat’s the best piece of advice you’ve ever received, on or off the bandstand?
“Compare and despair.” Someone I know is a career/life coach and this little tidbit really stuck with me. There’s an element of competition in what we do—that’s unavoidable—but I think that in some ways, social media has exacerbated the issue of being able to look at every aspect of someone else’s career or life and say, “Why isn’t that meeeeee?!” And you’ve really got to remember that comparing never leads anywhere good and it’s also pointless. The truth is you can’t be that person. And they also can’t be you. There’s room for everyone.

Fun fact:
I played french horn for years as a kid. #bandgeek
I’m also really an early bird. I’ve forced myself onto the vampire/musician schedule of late nights out of necessity, but I actually love to get up in the morning and enjoy that time of day when I feel New York hasn’t completely woken up yet.

Gabrielle will be celebrating the release of her new CD, Dream Ago, at SubCulture on Tuesday night—tickets are available HERE. Come! A full listing of her upcoming performances can be found on her website.

October: Looking back, looking ahead

We are exactly three weeks away from Thanksgiving, and this year, my plans look a little different than in Novembers past: on Thanksgiving morning, I will be lacing up my running shoes and joining my friend R. in Prospect Park for a 5-mile Turkey Trot.

In early October, I began using a running app that, despite its horrible name, has been a really effective tool for gradually building speed and endurance. As an added bonus, the app comes with DJ-curated running playlists, including a whole lot of 90s hip-hop, which means I may occasionally be spotted lip-syncing to FELLOW BROOKLYNITE Biggie Smalls as I jog through Brooklyn Bridge Park.

New shoes, autumn leaves...Turkey Trot T-minus 3 weeks & counting!

New shoes, autumn leaves…Turkey Trot T-minus 3 weeks & counting!

Last month, I also had the delight and honor of performing with the great saxophonist, Harry Allen, for two sold-out nights at Dizzy’s Club Coca-Cola (Jazz at Lincoln Center).  Talk about a dream gig: singing to a packed house with a swinging, supportive band against the panoramic backdrop of Columbus Circle and Central Park. I’m grateful for every gig I have, but those evenings with Harry at Dizzy’s were truly special.

Singing and swinging with Harry Allen & friends. Photo by Ivana Falconi Allen.

Singing and swinging with Harry Allen & friends. Photo by Ivana Falconi Allen.

Looking ahead, the DUCHESS gals and I have a couple of really exciting shows on the horizon. We’ll be at the Jazz Standard here in NYC on 11/29 and 11/30, joined by special guests Christian McBride and Kat Edmonson. We’re reviving the “variety hour” concept, inspired by Rat Pack-era shows from years ago, and we cannot wait to sing, laugh, and make merry with our friends and fans.

Finally, Tuesday, November 8 is just a handful of days away. Come on, America. Let’s appeal to what Lincoln himself called the “better angels of our nature” and not elect a racist, misogynistic, xenophobic, KKK-endorsed (!) narcissistic liar to the highest office in the land.

In October, I…
Blogged about: Traveling through Italy with my mom. Singer-friend Nicky Schrire. DUCHESS turning 3.

Read: Old journals. I’ve been doing a little excavating of my past for a writing project I’ve got in mind. Good heavens, if there is anything more humbling than reading one’s own terrible poetry, penned in one’s lovelorn early 20s, I don’t know what it is. Hilarious and mortifying.

Watched: The Search for General Tso. An informative, fun, and unexpectedly moving film about searching for the origins of a quintessential Chinese-American dish. Trumbo. Bryan Cranston is fantastic as blacklisted Hollywood writer Dalton Trumbo, although I wish they’d given the always-excellent Diane Lane, who plays Trumbo’s wife, a little more to do. It’s the Great Pumpkin, Charlie Brown. Because it’s a Halloween classic (can you believe it’s 50 years old!?).

Listened to: The Land of Desire. This well-researched, conversational podcast exploring the history of France is fun and educational. Worth a listen.

#ImWithHer

Patriotic pumpkins, seen in Brooklyn Heights. Friends, please VOTE!!! #ImWithHer