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thedupshadove · 5 years ago

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Scooby Doo Idea

Okay. The Gang were friends in high school, and while they all (with one notable exception. Stay tuned.) went to different colleges, they stayed in touch. They had had sort of an amateur investigative service running back in school, so when they all got out of their respective post-high-school obligations and realized that they all had no immediate plans (and privately, each of them realized that they all had emotional damage that made them reluctant to just go do adult life), they decided to take their investigative skills on the road, mostly as an excuse to semi-drop-out of society. Hey, it’s 1970. These things happen. But then, wherever they go they keep bumping into things that really do need solving. (“But where did they get the money for the van?” Daphne. “But all the food they have to buy--” Daphne. “But most people probably don’t pay them once their mystery gets solved--” Daphne. Daphne hasn’t even come into her inheritance proper yet, but her trust fund alone could buy Switzerland for cash.) Again, we are not trying to make this take on the series “modern” or “interesting” by having the characters constantly be at each other’s throats. They genuinely care about each other (and because this is me, will have settled into a full-on polycule before the series is over). It’s just that they all have, from various sources, considerable emotional damage that they need to do their best to work through. (But we’re gonna do our best not to let them be defined by their damage. They still have [variants on] the personalities we know and love from the old cartoons.)

Norville “Shaggy” Rogers: As high school came to a close, he wasn’t really sure what he wanted to major in at college...and then Uncle Sam called, and he never got a chance to decide, because it was 1966 and the war was hungry. After three years of Hell, he got shot in the shoulder just badly enough to qualify for a discharge home, where he spent the next year failing to shake it off. Luckily for him, he’s blessed with a fairly supportive, understanding family, but still, he’s been through things no teenager should have to, and he’s been left with scars far deeper than the one in his left shoulder. (Note to self: get as accurate a picture as possible of actual PTSD symptoms. Yes, he has nightmares, and yes, there may be the occasional flashback, but we need more than just those two cliché things. Let’s see, what do I already know? Well, he gets protective of people he cares about, he’s generally kind of nervous and jumpy [as is the standard for this character, but now with more of a concrete reason], his huge appetite may partially be a reaction to memories of starving in the jungle; now that food is plentiful, he eats, because he can’t entirely convince his subconscious that it’s going to stay plentiful. And for all his cowardice, when things get bad, I mean really bad, he slips into a sort of...detached competence. A fugue-like, hyper-focused calm in which he knows exactly what to do, and will put all his energy into seeing it done.) However, as I said, none of these people are entirely defined by their damage. When he’s calm, or at least comparatively calm (which sometimes comes with the help of pot) there shines through a caring, empathetic, gentle man with a surprisingly deep wisdom and a laid-back sense of humor. Also, in addition to his voracious appetite, he’s an excellent cook, and putting his energy into cooking is one of the things that can help calm him down after his symptoms get bad, and generally be a thing in his life that helps him heal. In addition to this, during his Year Of Failed Recovery, his uncle, who had a similarly hard time recovering after World War Two, suggested that he get a dog, advice which Shaggy took, which brings us to…

Scoobert “Scooby” Doo: What you need to understand about Scooby in this version is...he’s a dog. He’s very intelligent...for a dog. He’s very helpful in dangerous situations...for a dog. He’s surprisingly good at communicating with humans...for a dog. But he doesn’t talk, and he is not supernatural in any other way. He’s a dog. Nevertheless, he serves an important role in the group, not least of which is as Shaggy’s (though he’s never officially called this, as I believe the phenomenon was not a recognized as a medical phenomenon in 1970) emotional support dog. Like most dogs, he’s good at sensing what mood his people are in, and Shaggy is his people (and so are the others, eventually), so even though the actual training that emotional support animals get today didn’t exist for him to get, he can tell when Shaggy is in a particularly upset mood, and offer comfort. In addition, having an animal to care for gave Shaggy one more means of grounding. Plus, it doesn’t matter how well-planned your criminal scheme is, or how dedicated you are to it, if a big fuckoff Great Dane comes charging at you full-tilt, you’re gonna move. Most of his usual cowardice is probably gone in this version; in fact, if he feels that his people are in danger, he will not hesitate to square up and fight.

Frederick “Fred” “Freddie” Herman Jones: His father wanted a strong son; an athlete; the golden All-American boy...and he got it, by Hell or high water. Genuine interest in his son as a person? Willingness to support unconventional hobbies? Any affection given without Fred “earning” it by living up to one of the many standards of “manliness”? Naaaaaaaahhhh. Which was a problem, because Fred showed early on that he had little natural inclination towards what his father wanted him to be. His interests lay in painting, a particular breed of fashion, and mechanical things (and not the car kind.) Well, Papa Jones didn’t want any egghead or sissy for a son, and his efforts to “correct the problem” were, by most estimations, excessive. The man had a fast and furious temper. (And Mom died when Fred was very young, far too soon to do anything to counteract Dad’s influence) So Tiny Freddie learned to lie and suppress and play his part, and he played it so well that it couldn’t help become genuinely part of who he was (and, because children are children no matter what their parents are like, the praise he got when he finally lived up to his father’s standards warmed his little heart in a way he couldn’t control, even as he hated how much he had to hide), but through it all, he kept up his true self in secret, as much as he could, scheming and planning and hoping for the day when he could leave home and leave his father’s ideals behind. And he got into college (he got his father to accept an engineering major with only minimal cold disdain by pointing out all the possible connections to construction) and started trying to shed all of his father’s influence...only to find that he couldn’t, entirely. If you ask him point-blank, he will say that he knows his father was wrong and he’s not ashamed of his true self or his true interests, but getting out from under a lifetime of abuse is never that easy. After 18 years of being glared at and derided and shouted at and hit every time he did something “Poindextery” or “girly” or “weak”, the inner voice that does the same is something he has to face down and banish almost constantly. And as I said, some of the All-American Boy affect has just become part of who he is. His healthiest self, when he can find it, is the best of both worlds, with the gregarity and leadership skills of the Golden Boy combined with true embrace of the artist and inventor he is.

Velma Dace Dinkley: Her home life during childhood was just fine. The trouble came when those pesky peers showed up. She was short, and serious, and academic, and plain, and wore big thick glasses, and so she did not get along easily with the other children. She took things seriously, so when they teased, she took that very seriously, and lashed out, which only ostracized her more. Eventually, she buried the rage the only way she could: under layer upon layer of academia, forced apathy, and prickly snark. But underneath that, she was lonely. She didn’t feel lovable, or wanted, and she was frustrated by her inability to fix whatever it was that was wrong with her. Not that she was willing to admit any of this to herself, except in the dark and still of her bedroom at midnight. Who knows just how isolated she might have become if she hadn’t fallen in with the Gang during high school. As it is, she’s cynical, has a hard time dealing with or admitting to her own emotions, and is extremely distrustful of overt kindness or friendliness (the Gang get a pass on this because she knows them well, but if a stranger starts being noticeably nice to her, out come the quills.) She is, however, scary-smart. Smart enough to get PhDs in English and History in the time it took Fred and Daphne to get their Bachelors. And sometimes, when she’s around friends and feels safe, that clever, biting wit can be used for good, instead of to push people away “before they have a chance to hurt her”.

Daphne Anne Blake: What you have to understand is that the Blake family is rich. Wildly rich. Unimaginably rich. No, richer than you’re picturing. No, double that amount. No, on second thought, square it. The other thing you have to understand is that they have been this rich for slightly longer than America has existed as a political entity. So growing up a Blake certainly comes with privileges that most children can only dream of, but it also has its drawbacks, chief among which is that you will never, for one second, be allowed to forget that you are A Blake. And such was Daphne’s childhood. Grace, deportment, beauty, all the skills of a lady, perfection. Never a hair out of place, never a stain on that dress, never a sour note, never an uncouth word or gesture, don’t frown, dear, it wrinkles your forehead, but don’t laugh to hard, it puts lines around your mouth, and don’t you dare fall off that horse. After high school, she went on to Harvard for a B.A. in Psychology, because it’s important for even girls to be properly educated. And it’s all left her a scant hop skip and a jump away from being a nervous wreck. She needs everyone to like her all the time, she needs to look perfect, she needs to be perfect. But at least on some level, she doesn’t want to need to be perfect. She wanted to be able to relax, wanted to let her hair down, wanted to find an identity outside of being A Blake. Lucky for her, she’s the youngest of a large co-ed brood, and her parents suddenly decided that it was chic to have a child who was being slightly rebellious. So as long as she doesn’t get her name in the papers in a negative way, or overspend her allocated trust fund (which would be an impressive feat), they’re perfectly happy to titter at parties about how their youngest daughter is off roaming the country with her strange little friends. As to her quest to find herself outside of her family, it has and hasn’t succeeded. She’s mostly managed to reject generational snobbery and extend her gracious manners to one and all, but sometimes without thinking about it (or sometimes on purpose when they need it for a case) she slips into The Manner Born. And it’s been a long hard process puzzling out how much of the infinite lessons she can keep and use for good, and which she must discard. (For example, she’s certainly in no hurry to abandon her taste for the finer things in life, and if you’re going to make a life out of chasing down criminals, there are worse things than being a trained fencer.) No matter what she does, she’s always going to be a lady. She just hopes to become a true gentlewoman, rather than the paradoxical people-pleasing snob her parents were raising. Her biggest progress has come in the form of letting go of any residual feelings of superiority, and becoming less and less afraid to have and state her own thoughts and opinions, no matter who does and doesn’t agree with them. She’s working on that. Slowly.

Relationships

So, like I said, the endgame here is a full-on, everybody x everybody else poly situation. But even though they (eventually) think of themselves as a foursome, with no one pairing getting any precedence but rather the four of them being a group, it is true that within that group, there are six pairs, and each individual pair is strong enough that (if I may be morbid) if any two of them died, the remaining two would stay together. So here is a summary of each of the pairs.

Fred/Daphne: Ah, the classic pair. It’s a cliché, perhaps, but they really do have plenty to bond over.They both struggle with the weight of parental expectations, they both have a flair for personal style, and heaven knows they look good together. They spend a lot of time talking to each other and helping each other with the problems that come from their parents’ respective demands, but they also have a lot of fun enjoying together the more “preppy” things that Shaggy and Velma don’t like so much.

Shaggy/Velma: The other cliché, mostly a result of pairing the spares. However, it has its legitimate reasons to exist as well. Their senses of humor complement each other; Shaggy’s more overt clowning works well with Velma’s snark. As the two more “alternative” members of the gang, they also make sense as a couple in public. Shaggy’s earnestness, empathy and sillieness can help get past Velma’s shell, and her no-nonsense practicality can often help to calm his nerves.

Daphne/Velma: The third most popular pairing (or possibly even the second, however much I might want to kid myself about the ubiquity of my childhood OTP). On some level, Velma may be put off by (and might also envy) Daphne’s beauty and grace, but she can’t help but also be drawn to it, and be constantly delighted to find the intelligence underneath. Daphne, for her part, loves Velma for her intelligence, and is amazed by her forthrightness and assertiveness. In addition, Daphne has decided that Velma’s low estimation of her own desirability is unacceptable, and has taken it upon herself to shower her with all the attention she should have been getting all these years. She’s been put on enough pedestals of her own to know how to construct one for someone else, and has thrown herself wholeheartedly into singing “Dulcinea” under Velma’s metaphorical window. Velma’s reaction to this is...complex (which is to say, she would like to just let herself enjoy it, but can’t entirely shut off her reflexive cynicism).

Fred/Shaggy: They don’t always talk very much, but that’s okay. They enjoy the quiet. Shaggy appreciates having a leader-type around, and Fred takes comfort in Shaggy’s utterly accepting nature.

Fred/Velma: In some ways, they can get competitive, but it’s never vitriolic. It’s just that she’s never been one to hide her light under a bushel, and Fred’s reaction to how impressed he is with her is to want to impress her by trying to match up to her, and she respects him enough to not talk down to him or slow up so he can catch up, and so it spirals. She shows more and more skill at investigating and figuring out who the culprit is; he refines his plans and traps more and more. That’s why it so often seems ambiguous whether Fred or Velma is the leader; they’re sparring over the title.

Daphne/Shaggy: Well, he can’t help but be a little awed that such an obvious princess is into a guy like him. And he’s so unlike the boys shes used to that she can’t get enough of him. Their differences only make them stronger. And with her Psychology degree, she may be the one most equipped to actually help him with his symptoms. No, she’s not a therapist, but at least she knows the technical terms for what’s happening, and may have a list of possible treatments. And she revels in how few expectations he has.

@scoobydooservicedog You’re getting tagged because part of this relates to what you do (and because you seem cool and I kinda want to know what you think)

#scooby doo #shaggy rogers #norville rogers #fred jones #daphne blake #velma dinkley #poly mystery inc #fraphne #shelma #velma x daphne #fred x shaggy #fred x velma #daphne x shaggy

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tikkisaram · 5 years ago

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William Blake is Daphne’s Uncle

Upon deciding to embark on a pweek dedicated to DC Comics, I was filled with trepidation by my lack of ideas for a suitable blessay. I initially thought of conducting a study into the connections in William Butler Yeats’s poetry to each of Crazy Jane’s personalities — but then I came across something even more interesting, and in the strangest of places. As part of my research for this week, I read many a comic book published by DC. One of these was Scooby Apocalypse, and I was surprised at the characterization of the protagonists in the series. No one was really themselves: Velma Dinkley wasn’t really Velma Dinkley; Fred Jones wasn’t really Fred Jones; Daphne Blake wasn't really Daphne Blake. Then it hit me — Daphne wasn’t really Daphne Blake, she wasn’t really a Blake. While all the characters seemed like strange parodies of their original selves, Daphne was easily the most distant. She was a fighter, quick talker and constantly in a bad mood — a far cry from her old self. Her original personality was lighter, akin to that of a Romantic poet prone to reverie — say, for instance, Blake. William Blake. Thus was born this blessay.1

Though they lived a century and a half apart, the personalities of William Blake and Daphne Blake show remarkable similarities. Not only do they share the same general demeanour and mien, but also a number of specific traits. William was a highly creative person — he constantly engaged in artistic creation, and also invented the technique of relief etching,2 which he used to produce his books, pamphlets and poems; Daphne was similarly inventive, such as her culinary creations used to convince Shaggy to do work.3 William was kind and selfless — for instance, he made the sacrifice of moving to Felpham in 1800 to illustrate the work of fellow poet William Hayley; Daphne is always willing to help those tormented by monsters. William made good use of clumsy rhyming schemes in some of his poems; Daphne's propensity for accident was such that she received the monicker 'Danger Prone Daphne'. William was opposed to the Newtonian paradigm of reality4 and said that one must create one's own system in order to avoid corruption by that of another; Daphne consistently shows similar independence, caring little for society's ideas of propriety and never hesitating to solve mysteries herself without waiting for the police. William traveled all over England and had an interest in world religions and anthropology, reading many different religious texts; Daphne traveled constantly with her friends and immersed herself in various cultures — the list goes on. Of course, Daphne Blake isn’t a complete replica of William Blake and the two differ in some less-important areas. She is more of a niece to Blake than a daughter or a gender-flipped clone.

It seems that Daphne's appearance is based on William Blake's own, exhibiting also some elements borrowed from his artistic work. Like him, Daphne has blue eyes. Both of them had ginger hair, although William's turned gray as he grew older. In almost all portraits, William Blake is depicted wearing a cravat; Daphne always wears her scarf. She also wears a pantyhose, which is a rarity in the show even among secondary characters — there are no records of William dressing similarly, but it is interesting to note that his father, James Blake, was a hosier. Daphne's characteristic colour, purple, is one that is rarely used in William's paintings, but one that is always imbued with strong symbolic significance when present. Her dress is strikingly similar to that of the girl seen in William's painting Age Teaching Youth — both have a short skirt but long sleeves with coloured cuffs. What is more, both girls have pale skin and curly hair. Hair of similar length and shape is seen elsewhere in the work of William Blake — in his sketches of Daphne, the Ancient Greek naiad; a strange detail to say the least.5 In fact, William was especially fond of the Daphne myth, as attested by Bunsho Jugaku in his study of Blake's notebook.6

Certain biographical details link these two personalities in curiously specific ways. William was the third of seven children; Daphne is the third eldest member of the group. Since two of William's siblings died in infancy, his family numbered only five children — the number of the Scooby-Doo gang. William had a troubled love life; Daphne is shown to have similar problems.78 William was physically bullied by boys from his school; Daphne suffers at the hands of villains, especially by being kidnapped.9 William was a feminist who believed strongly in the equality of the sexes; Daphne shows similar beliefs and is portrayed as Shaggy's equal, just as Velma is Fred's. In fact, William was characterised as a "proto-hippie" by the New York Times,10 and his poem Auguries of Innocence is a powerful ode to free love. He also had an "affectionate relationship" with dogs.11 He was fond of dance and night-time (eg. The Dance of Albion and The Tyger, respectively) — both commonly seen in Scooby-Doo.12 Daphne even visited William Blake's birthplace — London — in one episode.13

But Tikki! — I hear unconvinced Tikki Troops cry — is Scooby-Doo not about proving that ghosts do not exist? How does this fit with Blake claiming to have conversed with ghosts and angels in his visions? To this I say: do you not remember The 13 Ghosts of Scooby-Doo, in which Daphne talks to ghosts, just as William did? Indeed this show features more allusions to Blake. The most notable is the preponderant number of pairs — in just the first episode, we see two skulls in the opening, two bull heads on Vincent's door, two ghosts (Weerd and Bogel), two engines malfunctioning, two oxen pulling carts, and more.14 This is no doubt in reference to William Blake's grave, which is memorialised by two separate gravestones.

In his poem Eternity, William Blake writes:

He who binds himself to a joy Does the winged life destroy He who kisses the joy as it flies Lives in eternity's sunrise

He clearly did the latter, because he undeniably lives on today "in eternity's sunrise", through his paintings, through his poetry — and through Scooby-Doo.

For the purposes of this blessay, I will be limiting my coverage to the period of animated releases from 1969 to 1985. This is due to the fact that during this period the characters were handled by the same, original team — thus their personalities remained largely constant. ↩︎

Wright, John W. "Blake’s Relief-Etching Method." Blake: An Illustrated Quarterly, vol. 9, no. 4, spring 1976, pp. 94-114. ↩︎

"Never Ape an Ape Man." Scooby-Doo, Where Are You!, season 1, episode 7. CBS, 25 Oct. 1969. ↩︎

Moore, Alan. "Alan Moore on William Blake’s contempt for Newton." Royal Academy of Arts Blog. https://www.royalacademy.org.uk/article/william-blake-isaac-newton-ashmolean-oxford. Accessed 10 Feb. 2020. ↩︎

Blake, William. The Notebook of William Blake (the 'Rossetti Manuscript'). British Library. c. 1787-c. 1847. pp. 2, 46. ↩︎

Blake, William, and Bunshō Jugak. A Bibliographical Study of William Blake’s Note-Book. Haskell House, 1971. ↩︎

"Mystery Mask Mix-Up." Scooby-Doo, Where Are You!, season 2, episode 2. CBS, 19 Sep. 1970. ↩︎

"Mamba Wamba and the Voodoo Hoodoo." The Scooby-Doo/Dynomutt Hour, season 1, episode 9. ABC, 6 Nov. 1976. ↩︎

For instance: "Decoy for a Dognapper." Scooby-Doo, Where Are You!, season 1, episode 5. CBS, 11 Oct. 1969. ↩︎

Schaap, Rosie. “Letter of Recommendation: William Blake’s Grave.” The New York Times, 4 Feb. 2016. NYTimes.com, https://www.nytimes.com/2016/02/07/magazine/letter-of-recommendation-william-blakes-grave.html. ↩︎

Clayton, Ellie. “Dog of my Gate.” William Blake: Religion and Psychology, 4 July 2012, http://ramhornd.blogspot.com/2012/07/dog-of-my-gate.html. ↩︎

For an instance of dance, see: "Foul Play in Funland." Scooby-Doo, Where Are You!, season 1, episode 8. CBS, 1 Nov. 1969. ↩︎

"Sherlock Doo." The New Scooby-Doo Mysteries, season 1, episode 11. ABC, 17 Nov. 1984. ↩︎

"To All the Ghouls I've Loved Before." The 13 Ghosts of Scooby-Doo, season 1, episode 1. ABC, 1 Sep. 1985. ↩︎

GrindtXX. Ledger stone on the grave of William Blake. CC-BY-SA. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Bunhill_Blake_2018.jpg ↩︎

#blessay #poetry #poetry analysis #william blake #daphne blake #dc comics #pweek

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if-you-fan-a-fire · 4 years ago

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“Judicial Pity Roused By Young Pilferers,” Toronto Star. January 20, 1931. Page 32. --- But Russell McKenzie Gets Five Years in Kingston for Hees Thefts --- The dock this morning was crowded to overflowing with boys, reappearing for sentence on serious charges of house and shop-breaking. Magistrate Jones called it a ‘nightmare.’ Certainly it was a horrifying sight. For the moment it seems as if the foundations of society were in danger. Most of the boys were not so long ago in the arms of loving, dreaming parents, their hopes and ambitions centered upon the future of the little laddies playing at their knees. For some strange reason their dreams had not come true; the garden of their hopes and prayers seemed to be turned into a dreary waste of weeds, rank and gross and nature.

The first batch for sentence for theft of copper from the Toronto Metal Foundry Company, Liberty St., were: Vincent Murphy, John Hicks, Stanley Lechinsky, Lorne Burchuck, and Stanley Trells. Crown Attorney Malone consented to Trells being placed on probation for one year. The others were sent down for from 3 to 12 months.

‘Are You Crazy?’ The same fate befell William Ball and Fred Sills. These boys broke into homes in the west end and not content with stealing various articles, ‘cut lose’ and did hundreds of dollars worth of damage to the furniture, etc.

‘What;s the matter with you boys? Have you gone crazy?’ ased Magistrate Jones. “The damage you did was of no service to yourselves. This is indeed a nightmare.’

Was It ‘Joy’ The next group of lads, consisting of Robert Newans, Ernest Tyrrell, Norman Caddaway, Alfred Hale and Allen Purd, were laid over until the 23rd for sentence on a charge of stealing a car, because Counsel Austin Ross asked that the affair be treated as ‘joyriding.’

‘The statute gives me no authority to do than pass sentence of one year. The crown is the judge in such cases. I am to do whatever the crown says,’ said Mr. Jones.

Theft From Shade Factory And this was also sentence day for those guilty of theft of a large quantity of goods from the factory of George H. Hees, Ltd., Davenport Rd. Their terms varied. Russell McKenzie [PICTURED] topping all others with a two-year term in the penitentiary. McKenzie, Crown Attorney Malone pointed out, had a long record and had on one occasion been sentenced to five years and ten lashes.

Ambrose Addison, a vicctim of liquor, got three to twelve months; Yvonne Flewelling, the only woman in the party, came in for a sharp rebuke from the bench. Addressing her, Mr. Jones said: ‘If you don’t do better when you get out it will be the most fearful of all tragedies - a woman gone permanently wrong.’ She too got from three to twelve months. George W. Veal, who got only two blinds from the shade factory, go from three to six months. George Jennings, on probation at the time, six to twelve months.

Nedibus Refreshed by a week’s rest at the jail, the everlasting Ned Clarke reappeared before Magistrate Tinker this morning. While Magistrate Browne was inspecting the jail after the disturbance on Saturday last, his worship saw Nedibus in bed, just awakening from sleep. His worship bade Ned go to sleep again. ‘No, sir!’ replied the old soldier patriot. ‘I’m going to sit up and pay proper respect to you and the office you and the office you hold.’

That was just like Ned, Wakeful and alert. Mindful that tribute loses naught When paid in simple shirt.

‘And the great thing troubling me to-day, sir,’ said Ned, addressing Magistrate Tinker, ‘is that the jail authorities have given me a garment that bears a mark - not of merit, but a humiliating reminder that I have been in jail.’

This so tortured the noble spirit that Capt. Bunton of the S.A. promised to exchange the garment for one that would cover Nedibus with glory.

‘Thank you, sir,’ said Ned on being allowed to go.

A Repeater John Hand, guilty of a third offence of drunkeness, was sent to jail for three months.

Who Are They? The police are curious to find out where four young men, Lorens Blackwell, James Taylor, Llewyn Tudhope, and Carm Thoromer got the car they were found with, bearing a Michigan license. They hail from Michigan and the Salvation Army sent word to their friends. In the meantime they were remanded until the 22nd on a charge of vagrancy.

‘The bail will be $3,000,’ said Magistrate Tinker. Energetic Strenuously appeared to be the great trouble with Angus Graham, caught fighting at the Normal school.

‘Can’t you live quietly in this country; or should I send you back to your own land?’ queried the magistrate.

Angus promised to harness his spirit, and, Niagara-like, divert it to useful purposes. Magistrate Jones placed him on probation for a year.

Now Mr. Freer is a boxing man, And built upon a sturdy plan; If you should like to change your looks, Just say to him, ‘Put up your dooks.’

Ignored Lights Driving in from Highland Creek, David Dix passed a couple of red lights. Somebody had given him a pint of beer.

When charged with reckless driving, he told a story which Mr. Jones doubted. The court was quite cross about it.

‘Well,’ said Counsel Austin Ross, apologizing for his client. ‘Yes, sir, he isn’t used to the witness box and is evidently a little shy about telling the truth.’

Dix was placed on probation for one year.

Irate Mother When seventeen-year-old James White came up on a charge of vagrancy, the boy’s mother entered the witness box and poured a torrent of blame upon the head of a 22-year-old acquaintance of her son. When arrested young White was in possession of a revolver, which he said was given him by the older youth. The latter flatly denied this at the time and repeated his denial to-day after the mother of White had emptied her vials of wrath upon him.

‘I heard him tempt my boy,’ declared the mother, ‘and he turned on me and said: ‘Never mind, some day you’ll see what a good boy your son is.’ Ever since then he’s revenged himself on me. I’ve given him clothes and told him to give up drinking and be a man.’

Here it was that the subject of the mother’s denunciation stepped forward and denied wanting to ‘chum’ with young White.

‘I’ll place him on probation for three months,’ said Mr. Jones, ‘and he’ll go to jail if he chums with you.’ This is to the 22-year-old.

With the older boy’s apparently sincere denial of all knowledge of the revolver found on White, the question of why White had the gun when he went to see if someone else was ‘going with his girl,’ remains unanswered.

[AL: McKenzie was 33 at time of conviction, working as a teamster, and had been born in a tiny hamlet called Newtownshire, York County, now Toronto. He had previously been in the Mimico Industrial School, the Toronto Jail Farm, the Guelph Reformatory, and as #256 at Kingston Penitentiary. His sentence was to run from January 9, 1931 and was for two years not the five in the title by-line. He worked in the general labour gang - used for trucking and hauling goods at Kingston Penitentiary - and was apparently involved in some of the ferment before the riot, but was released October 1, 1932. He came back in late 1936 to the penitentiary.]

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msclaritea · 4 years ago

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By Élan Young

Nov 29, 2019

This story was originally published by HuffPost and is reproduced here as part of the Climate Desk collaboration.

“Exxon knew.” Thanks to the work of activists and journalists, those two words have rocked the politics of climate change in recent years, as investigations revealed the extent to which giants like ExxonMobil and Shell were aware of the danger of rising greenhouse gas emissions even as they undermined the work of scientists.

But the coal industry knew, too — as early as 1966, a newly unearthed journal shows.

In August, Chris Cherry, a professor in the Department of Civil and Environmental Engineering at the University of Tennessee, Knoxville, salvaged a large volume from a stack of vintage journals that a fellow faculty member was about to toss out. He was drawn to a 1966 copy of the industry publication Mining Congress Journal; his father-in-law had been in the industry and he thought it might be an interesting memento.

Cherry flipped it open to a passage from James R. Garvey, who was the president of Bituminous Coal Research Inc., a now-defunct coal mining and processing research organization.

“There is evidence that the amount of carbon dioxide in the earth’s atmosphere is increasing rapidly as a result of the combustion of fossil fuels,” wrote Garvey. “If the future rate of increase continues as it is at the present, it has been predicted that, because the CO2 envelope reduces radiation, the temperature of the earth’s atmosphere will increase and that vast changes in the climates of the earth will result.”

“Such changes in temperature will cause melting of the polar icecaps, which, in turn, would result in the inundation of many coastal cities, including New York and London,” he continued.

Cherry was floored.

“It pretty well described a version of what we know today as climate change,” said Cherry. “Increases in average air temperatures, melting of polar ice caps, rising of sea levels. It’s all in there.”

In a discussion piece immediately following Garvey’s article, Peabody Coal combustion engineer James R. Jones noted that the coal industry was merely “buying time” before more air pollution regulations came into effect. “We are in favor of cleaning up our air,” he wrote. “Everyone can point to examples in his own community where something should be done. Our aim is to have control that does not precede the technical knowledge for compliance.”

Climate change is not Cherry’s area of study, but he was struck by how the tone of the articles differed from the way many fossil fuel companies talk about climate change today. Rather than engage in denial, the articles offered a fairly straightforward acknowledgment of the emerging science. (This reporter is also a writer for UT’s Tickle College of Engineering, where Cherry teaches.)

As Cherry did some of his own digging, he soon realized his discovery could be the first evidence that the coal industry was aware of the impending climate crisis more than half a century ago — a finding that could open mining companies to the type of litigation that the oil industry is now facing.

Decades of denial

While Peabody Energy, the largest private-sector coal company in the world and the largest producer of coal in the U.S., now acknowledges climate change on its website, it has been directly and indirectly involved in obfuscating climate science for decades. It funded dozens of trade, lobbying, and front groups that peddled climate misinformation, as The Guardian reported in 2016.

As recently as 2015, Peabody Energy argued that carbon dioxide was a “benign gas essential for all life.”

“While the benefits of carbon dioxide are proven, the alleged risks of climate change are contrary to observed data, are based on admitted speculation, and lack adequate scientific basis,” the company wrote in a letter that year to the White House Council on Environmental Quality.

At the heart of big coal’s denial campaign was Fred Palmer, who served as Peabody’s senior vice president of government relations from 2001 to 2015. In 1997, Palmer founded the Greening Earth Society, a now-defunct industry front group that argued that burning fossil fuels was good for the planet. The group was based in the same office as the Western Fuels Association, a consortium of coal suppliers and coal-fired utilities that Palmer also ran.

“Every time you turn your car on and you burn fossil fuels and you put CO2 into the air, you’re doing the work of the Lord,” Palmer told a Danish documentary team in 1997. “That’s the ecological system we live in.”

Asked for comment, a Peabody spokesperson told HuffPost: “Peabody recognizes that climate change is occurring and that human activity, including the use of fossil fuels, contributes to greenhouse gas emissions. We also recognize that coal is essential to affordable, reliable energy and will continue to play a significant role in the global energy mix for the foreseeable future. Peabody views technology as vital to advancing global climate change solutions, and the company supports advanced coal technologies to drive continuous improvement toward the ultimate goal of near-zero emissions from coal.”

Palmer, who did not respond to HuffPost’s request for comment, continues to carry the torch. He now works as an energy policy adviser to The Heartland Institute, a Chicago-based think tank whose climate denial is so severe that even ExxonMobil abandoned funding it and its climate denial efforts a decade ago. In 2011, leaked memos showed that the institute paid contrarian scientists like Craig Idso, founder of the Center for the Study of Carbon Dioxide and Global Change, $11,600 a month to promote carbon dioxide as beneficial to the environment.

The group sits at the heart of a broader right-wing misinformation network funded in large part by hedge fund billionaire Robert Mercer and his daughter, Rebekah, both Republican mega-donors who backed President Donald Trump and financed projects such as Breitbart News and Cambridge Analytica, the data firm considered key to Trump’s 2016 win. Palmer’s daughter, Downey Magallanes, was a top policy adviser at Trump’s Interior Department before joining oil giant BP in September 2018.

All of this was taking place well after climate change had become a commonly understood idea in the scientific community. A 1965 report from President Lyndon Johnson’s Science Advisory Committee was the first from the White House to address climate change (and is likely what precipitated the Mining Congress Journal article). “The climate changes that may be produced by the increased CO2 content could be deleterious from the point of view of human beings,” it warned. In 1988, NASA scientist James Hansen testified to Congress about what was then known as the “greenhouse effect.” And in 1992, the United Nations established the Framework Convention on Climate Change, an international treaty to begin addressing the problem.

But as this consensus emerged, so too did a wave of industry-funded climate denial via vast, shadowy networks of front groups, public relations campaigns, and scientists for hire.

Pulling back the curtain

In 2015, journalists at Inside Climate News, the Los Angeles Times, and Columbia University exposed internal ExxonMobil documents showing that the company’s scientists had a deep understanding of climate change even as Exxon worked publicly to downplay that science.

Twenty state attorneys general launched an “Exxon Knew” campaign, which eventually led to communities across the country filing at least 14 legal challenges against Exxon and other fossil fuel companies. One lawsuit, from the New York state attorney general’s office, went to trial on October 22 and focuses on how the company accounted for the costs of potential future regulations on climate change. The Massachusetts attorney general filed another suit on October 24, this time claiming the company had engaged in deceptive advertising and misled investors about the systemic financial risks to its business posed by fossil fuel-driven climate change. Earlier this month, two of Hawaii’s biggest municipalities sued Exxon and other big oil companies to recoup the costs of adapting to rising seas and more violent storms.

Evidence of what fossil fuel companies knew about climate change and when is critical to the legal strategy of those seeking damages for carbon dioxide emissions. If fossil fuel companies were aware of their products’ harmful effects on the planet, they could be held liable for damages.

Legal liability boils down to four factors, said David Bookbinder, chief counsel for the Niskanen Center, which is representing counties in Colorado that have filed suits: one, whether the defendants knew that their products would cause climate change; two, what they told or did not tell the public about the consequences of using their products; three, the extent of injuries caused by climate change; and four, whether the defendants’ actions have led to a portion of those injuries. What the plaintiffs in these suits can prove remains to be seen.

What we do know is that coal, when burned, has by far the biggest climate footprint of any fossil fuel, producing more carbon dioxide per unit than oil or gas. In the U.S. alone, coal produced 65 percent of the power sector’s planet-warming emissions. The 1966 article in the Mining Congress Journal certainly raises questions about what the coal industry knew at the time.

Robert Brulle, a professor emeritus of sociology and environmental science at Drexel University, authored a recent paper that suggests the coal industry must have known quite a bit, given how prominently it positioned itself in the climate denial movement.

Brulle researched 12 major groups and coalitions that argued against mandatory regulation of carbon dioxide from 1989 to 2015 — which he calls the “climate change countermovement.” That countermovement included 2,000 different businesses, political or social groups, as well as other organizations, but Brulle found that 179 core organizations belonged to multiple coalitions. Coal companies and predominantly coal-burning utilities were the most prevalent. He describes oil and gas companies as “more of a marginal player” by comparison.

“The coal mining industry — the utilities that were burning it for electricity, along with the railroads who were hauling it — and manufacturing industries like steel were the first corporate forces to become climate deniers and try to block action on climate policy,” said Kert Davies, founder and director of the Climate Investigations Center. “They fought the hardest because they had the biggest existential threat.”

Where do we go from here?

In the aftermath of the 1973 oil embargo, Exxon and other oil giants leased large parcels of land for coal mining with the goal of manufacturing synthetic fuels and lowering U.S. dependence on the Middle East.

Some previously released documents show that Exxon’s scientists began advising that the world phase out coal as a fuel as early as 1979. In one scenario, the Exxon scientists concluded that non-fossil fuels would need to be substituted for coal beginning in the 1990s to keep carbon dioxide levels below atmospheric concentrations of 440 parts per million. In 1999, Exxon merged with Mobil, and by 2002, ExxonMobil had dumped its coal assets.

Meanwhile, the coal industry tried to reinvent itself with the concept of “clean coal.” This as-yet-undelivered promise that carbon capture and other technological advances could lower coal’s environmental impact has been around for decades but resurged in the early 2000s as regulations seemed imminent.

The biggest proponent of this idea was the American Coalition for Clean Coal Electricity, a coal front group that spent $35 million on public relations campaigns in 2008 alone, seeking to influence the election. A year later, ACCCE was caught sending Congress fraudulent letters opposing federal climate legislation and pretending to be from veterans, women’s, and civil rights groups. The incident led many members to leave the organization, but Peabody remains a member to this day.

“Its whole mission was to stop climate regulations but pretend that they were in favor of clean coal, which, of course, doesn’t exist,” said Davies.

Peabody Energy filed for bankruptcy protection in 2016, the same year carbon dioxide levels hit 400 parts per million. Eight other coal companies have filed for bankruptcy this year. Even as the Trump administration has promised a coal resurgence and rolled back Obama-era regulations, the industry’s profitability continues to experience a downward slide. If the slogan “Coal Knew” ever does take off, it’s unclear who’ll be left to sue.

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sinrau · 4 years ago

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(CNN) Ever since the coronavirus began its deadly march through the US, Donald Trump has been accused of lacking the empathy presidents typically draw on to lead and soothe a nation in crisis.

This week the question of presidential compassion was a consistent storyline.

You could pick your lyrics: Was the President like the Tin Man from the “Wizard of Oz,” plaintively singing, “If I only had a heart.” Or was he suffering from, as the 80s hit song put it, “a total eclipse of the heart”?

We saw a President who slammed the Supreme Court for blocking his effort to subject 650,000 Dreamers to deportation. He also bemoaned the court’s historic ruling Monday that LGBTQ people can’t be fired because of their sexuality. His former national security adviser John Bolton claimed in a book excerpt that Trump had encouraged China’s leader to set up concentration camps for the Uyghur minority. He plowed ahead with a non-socially distanced rally in Tulsa, Oklahoma, even as coronavirus cases mounted.

Yes, some rallygoers could get sick, Trump told the Wall Street Journal, but “it’s a very small percentage.”

In a private meeting with the families of Black victims, though, Trump was “very compassionate,” according to the mother of Ahmaud Arbery, who was shot to death while jogging in Georgia. But in his public remarks, the President made law-and-order his primary message.

“Trump went on the attack against his political rivals and doubled down on his hard-line, ‘law and order’ stance, a political calculation solidified by his use of the words ‘safety and security’ and his statement that Americans ‘demand law and order,'” wrote Issac Bailey. “His effort to address growing national suffering and protest over police brutality was, at best, a thinly veiled excuse to defend law enforcement and signal to white voters where he stands.”

A chilling view of the private Trump emerged from the Bolton book. It painted a credible “portrait of the most amoral, autocratic and unprepared man to ever serve as president of the United States,” wrote John Avlon. “This is not a partisan attack by activists from the opposition party. This is the first-person view of the President’s former national security adviser, bolstered by contemporaneous notes, a standard which is admissible in court. It is a damning portrait of a president untethered to anything resembling morals, who cannot separate his self-interest from the national interest and doesn’t even care to try.”

Jen Psaki viewed the book through the lens of the upcoming election: “All of the observations, accusations and specific anecdotes are about one person — Donald Trump — and whether he is fit to lead the country and the lasting damage he would inflict if given four more years.”

In fact, the revelations show Bolton as complicit, in Elie Honig��s view: “John Bolton has offered the nation a staggering profile in cowardice…Bolton directly witnessed not one but multiple acts that could have been cited in the impeachment of President Donald Trump. But Bolton did nothing about it while he held a powerful post in the Trump administration. And he stayed quiet and took cover when Congress and the nation pleaded with him to speak out during the impeachment process.”

Writing about China policy, Bolton gave this devastating description: “The Trump presidency is not grounded in philosophy, grand strategy or policy. It is grounded in Trump.” As if to prove that such a verdict applies more broadly, on Friday night Attorney General William Barr ousted Geoffrey Berman, US Attorney for the Southern District of NY which has been investigating and prosecuting Trump’s associates. “The news of Berman’s ouster is one more piece of evidence that Trump is the anti-law-and-order President, despite his claims to the contrary. Trump touts law and order when it suits him, but attacks the courts and erodes our judicial system when it comes to his agenda and actions,” wrote Julian Zelizer.

One critic described Bolton’s book as a slog. “It toggles between two discordant registers: exceedingly tedious and slightly unhinged,” wrote Jennifer Szalai in the New York Times. “Still, it’s maybe a fitting combination for a lavishly bewhiskered figure whose wonkishness and warmongering can make him seem like an unlikely hybrid of Ned Flanders and Yosemite Sam.”

Another book Trump may be dreading is due out in July from the President’s niece, Mary L. Trump, who is a psychologist. Trump biographer Michael D’Antonio wrote that the book promises to shed light on the President’s fraught relationships with his father and elder brother, Fred Trump Jr., who was Mary Trump’s father. “Three and a half years into the Trump era, endless words have been spent illustrating the chaotic and cruel personality that can, to cite just one example, schedule a huge ego-gratifying rally in the middle of a deadly pandemic caused by a viciously contagious virus,” noted D’Antonio.

A rally fizzles

Given that cases of Covid-19 have been rising sharply in Tulsa County, wrote infectious disease expert and Oklahoma native Dr. Kent Sepkowitz in advance of Trump’s Saturday rally there, “from a strict public health perspective, the selection of Tulsa is a terrible decision.”

Trump’s first rally since the pandemic began was “supposed to trumpet his return to greatness — and the country’s return to normalcy,” wrote Frida Ghitis. But it “instead brought embarrassing scenes of empty bleachers, a dismantled stage and a familiar speech unsuccessfully trying to reignite public fears…The speech was typically self-centered, with a bizarre more than ten-minute long riff on his ultra-slow descent from the West Point ramp, and absolutely no words of compassion for the nearly 120,000 people in this country who have died during the pandemic.”

Days of freedom

Friday was Juneteenth, the holiday celebrating the end of slavery in the US. Another historic day of freedom came on October 1, 1962, when James Meredith became the first African American student to enroll at the University of Mississippi. He had to sue for his right to an education there, and it took the courts, hundreds of federal marshals and thousands of troops to overcome rioting and protect Meredith.

“The gates of higher education in the United States were opened for all Americans,” Meredith wrote. “This victory for me and for the US Constitution shattered the system of state-sponsored white supremacy in Mississippi…”

“When I see people across America — and around the world — peacefully marching for racial justice and honoring the memory of George Floyd and other martyrs like Medgar Evers…I am filled with both joy and hope. White supremacy may be the most evil beast that’s ever stalked the halls of history, and today it may finally be mortally wounded.”

Some companies and some states marked Juneteenth as a holiday, but it should be observed nationally, wrote Peniel Joseph. It “would spur not only conversation about the origins of our current racial and political conflicts, but would also prompt vitally necessary education about white supremacy and its manifestations in policies and political actions that are anti-Black, anti-democratic and anti-human,” wrote Joseph.

Rayshard Brooks’ own words

Months before he was shot to death by Atlanta police, Rayshard Brooks took part in an interview for a research project. A video of that February interview aired on CNN’s Anderson Cooper 360 show Wednesday, and in it, Brooks described the lasting burden of being on probation: “I just feel like some of the system could, you know, look at us as individuals. We do have lives, you know, just a mistake we made, and you know, not just do us as if we are animals.”

Van Jones noted that for people on probation “any contact with a police officer — for any reason — means an almost certain return to the horrors of a jail cell. It is safe to assume that Brooks did not want to go back to jail over sleeping in his car or failing a sobriety test, lose everything he had and be forced to start his life over again.”

“In other words, we do not know why the Atlanta police officer chose to shoot a man who was running away from him. But we can guess why that man chose to run, in the first place. Brooks didn’t want to lose his liberty. Instead, he wound up losing his life.”

Melvin Carter, the first African American mayor of St. Paul, Minnesota, is the son of a police officer who served his city for 28 years. But even with that background, he doesn’t think the answer to public safety is solely a matter of spending billions on police and prisons. “Our country’s enforcement-heavy approach to safety isn’t designed to address the root causes of crime, but the symptoms,” he wrote. “Instead of equipping us all with tools to guard our own future security, it further alienates those on the outer edges of society and impedes funding for critical social infrastructure like schools and housing.”

A former mayor, Mitch Landrieu of New Orleans, wrote that the US Justice Department was investigating his city’s police department when he took office. A consent decree which is still ongoing has resulted in a dramatic improvement in how residents view the police, but there’s more work to be done, Landrieu wrote. “We must go further. We can no longer ask police to handle the failures of our social and educational systems.”

Anne Milgram, the former New Jersey Attorney General, worked on the reinvention of policing in what was once America’s most dangerous city, Camden. “We had a police department that had no idea of what it was doing or whether it could do better. It lurched wildly from 911 call to 911 call, sometimes taking hours to respond to calls of serious violence. It failed to solve serious crimes…that plagued the city, and yet hundreds of arrests were being made for low-level crimes, driven most often by drug and alcohol addiction, mental illness, poverty and homelessness.” New leadership, new systems and ultimately a new police department made a difference — the city is “the safest that it has been in more than 50 years” and the police department is a model for others, Milgram wrote.

Supreme surprises

When Donald Trump ran for President, he promised to appoint conservative justices to the federal courts — and he’s been true to his word, naming Brett Kavanaugh and Neil Gorsuch to the Supreme Court and scores of others for lower courts.

But it was Gorsuch who wrote the majority opinion this week upholding civil rights for LGBTQ Americans, rejecting the Trump administration’s position in declaring that the anti-discrimination provisions of the 1964 Civil Rights Act protect gay and transgender people. “It’s surprising that it’s taken this long,” wrote John D. Sutter. “Until this week in the United States of America, many LGBTQ workers lacked these simple legal protections.

“In over half the states in America, you could be fired for being gay. Until now.”

Then on Thursday, Chief Justice John Roberts, appointed by George W. Bush, sided with the court’s four liberals in blocking the Trump administration’s effort to kill the Obama-era DACA program, which shields young people who had been brought to the United States as children from deportation. DACA “was life-changing for hundreds of thousands of people — Americans in all but the paperwork — who were now free to work, go to school, seek promotions and continue their academic careers without fear of being detained and sent back to countries they barely knew,” wrote Raul A. Reyes. The decision was “a win for Dreamers, for the American ideal of welcoming immigrants — and for the independence of the high court.”

Happy Father’s Day

Mother’s Day this year came as most Americans were still locked down, and a lot of the holiday get-togethers were virtual. Today is Father’s Day and the advice from Kent Sepkowitz is consistent with what he recommended for the earlier holiday: get together with your father on Zoom, Facetime or whatever platform you prefer. America’s “approach to reopening — which has been unscientific and uncoordinated — has failed miserably. Rather than cautiously peeling back the various Covid-19 containment safeguards, most states have supported an ‘everybody-back-in-the-pool’ return, as if we were all teens partying during Spring Break.”

“Besides, let’s be honest — Father’s Day is no Mother’s Day, “wrote Sepkowitz, noting that total US spending on Mother’s Day gifts is more than 50% higher. “As a dad myself, this junior varsity status is fine by me. This year in particular, I want nothing to do with celebrating a holiday in the middle of a poorly managed pandemic.”

For more on Father’s Day:

Marcus Mabry: A Father’s Day message to all dads

Arick Wierson: George Floyd was my wake-up call

After Aunt Jemima

The debate over systemic racism touched off by the killing of George Floyd rippled into many parts of America. Consumer-facing companies reacted, with Quaker Oats announcing that it would end the 131-year-old Aunt Jemima brand, noted Elliot Williams.

As a Black child, it was upsetting for him to discover that the light-pink Crayola crayon was labeled “flesh” colored. “I put it back in the bin, pulled out ‘burnt sienna’ or ‘raw umber’ and continued whatever (probably “Star Wars” themed) self-portrait I was working on… By implying that the only color called ‘flesh’ looked like white skin, Crayola decided who was ‘normal.’ Everyone else had to work around that.” (The “flesh” color was phased out in 1962, replaced by “peach.”)

“In the midst of a national debate on life-and-death matters around racism and public safety, fussing about the logo on instant rice may seem trivial,” Williams wrote. “It’s not. The images our society chooses to elevate are reflective of who we are, and more importantly, whose voices — and yes, even lives — matter.”

Now that Aunt Jemima has been retired, wrote Crystal Echo Hawk, what should be next? She argued that the many uses of Native American images and symbolism in sports must end. “Professional sports have the power to influence and inspire people of all ages. In this unprecedented moment of solidarity, t hey have the opportunity to take a strong stand and show — not just say — that racism will not be tolerated.”

Covid-19 is still here

America’s top two elected officials did their best this week to argue that Covid-19 is going away, despite clear signs to the contrary. “Other countries whose governments addressed the crisis forthrightly have managed to wrestle down the curve, and now they are carefully, safely reopening,” wrote Frida Ghitis. “In the US, the curve is trending up, not down, even if Vice President Mike Pence deceptively declared in an op-ed this week, ‘We are winning the fight against the invisible enemy,’ unctuously declaring that the good news is ‘a testament to the leadership of President Trump.'”

As Ghitis noted, “On Monday, during a roundtable discussion on senior citizens, Trump said ‘If you don’t test, you don’t have any cases,’ a belief reminiscent of a baby thinking you disappear if he covers his eyes. To state the obvious, if we stopped testing, people would continue to become infected and die.”

Don’t miss:

Kamala Harris: The fight continues to protect Americans’ health care from Trump.

Theodore J. Boutrous Jr.: Trump’s tweet exploits and defames toddlers

Vicky Ward: Telling the truth makes a huge difference

David Gergen and Caroline Cohen: The next Greatest Generation

Merrill Brown: Federal government abdicates duty to inform public on coronavirus

Claire McMullen, Yael Schacher and Ariana Sawyer: Trump’s cold-blooded move to shut out desperate asylum seekers

Jeff Yang: It turns out your favorite movie is racist. What now?

Nayyera Haq: Why Stacey Abrams deserves applause

AND…

At last, summer

A summer like no other begins this weekend. In the first of a new series of weekly columns for CNN Opinion, biologist Erin Bromage wrote, “Our choices over the coming months will determine the trajectory of this pandemic. If we continue to pursue activities that pose a high risk for infection, such as large indoor gatherings, then we will hear the roar of that second wave sooner than later.”

“If we take a more measured approach, by improving hand hygiene, limiting daily interactions with other people, maintaining physical distance and increasing face mask use when we can’t maintain the distance, then businesses can operate safely, people can return to work and the activities our children are missing can resume.”

But even in the midst of the pandemic, Bromage wrote that he’s looking forward to some traditional summer activities: “my first meal at a restaurant (dining outdoors), visiting with more than one or two households at a time, and spending time at the beach. These interactions will be a little different than last summer.

“We will have to keep personal risks and risk mitigation measures in mind, but these adjustments are well worth the payoff of getting to enjoy some of my family’s usual summertime activities.”

Donald Trump’s heartless week #web #website #copied #to read# #highlight #link #news #read #blog #wordpress post# #posts #breaking news# #Sinrau #Nothiah #Sinrau29

#IFTTT #WordPress

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bugheadjones-the-third · 7 years ago

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Title: The Exception . Summary: in a town taken over by fear, a young couple tries to make their way back to each other. . A/N: It's been a long time since I’ve last posted something, and I gotta say it was all my fault for being too lazy during my free time XD This one is based on what Lili said about the cute moments we’re gonna have while Reversal faces the civil war, and I really hope we can get a similar scene!! Hope you enjoy it, and I’m already sorry about what you’re gonna read! Please, tell me what you think! . . . It was a cold and silent night, as Elizabeth Cooper made her way through the southern part of Riverdale, with nothing but her uncharged phone in hands. She was all alone in those empty streets, facing shadows that extended for miles, and even if she was trying her best not to be afraid at that moment, Betty failed miserably whenever her ears captured a sudden noise her smart brain just couldn’t identify.

It’s just an animal, she would tell herself. A cute, defenseless animal and not the dangerous man who shot Fred Andrews and was entitled Angel of Death after spreading fear and horror around the whole town.

Oh, It was probably just a squirrel.

As she made her way to where her boyfriend was— which she was almost positive to be around that area— Betty remained alert for any sign of trouble. Her sea green eyes were widened, looking around the entire perimeter surrounding her as in a protective measure, and at the same time she was doing everything she could in order to get warmer, her perfect, pure mind couldn’t stop cursing mayor McCoy for not giving the Southside a decent street illumination.

She was definitely going to write an article about that as soon as she got home. During the long time she would eventually spend grounded, the Cooper girl would continue to do justice with her own words.

The idea of spending the next couple of months in partial house arrest, for as bad as it could seem, didn’t scare her, let alone made her regret the decision she made earlier that night. Thanks to the immature, civil war declared by the adults of Riverdale, both Betty and Jughead, for living in opposite poles of the same, small town, ended up being dragged into the middle of that mess. People gave him weird glares whenever he was around the North, and her presence around the South wasn’t really welcomed by everyone either. That situation created an indelicate discomfort whenever they visited a place that's not Pop’s, and even if both of them loved that diner, it was impossible not to see that things were just getting worse around them.

The town folks were really taking that war seriously, and even if at first neither of them really cared about the adults’ problems, as soon as some violence cases started to be reported, it became impossible to simply avoid things. He was scared for her and she worried about him almost 24/7; and if that wasn’t bad enough, spending entire days without seeing each other started to become a part of their cruel routine.

They missed each other. Damn it, Betty missed him like hell, and not even all the texts exchanged throughout the day would be able to explain how painful it was to spend more than 24 hours without seeing that beanie and those greenish-blue eyes of his.

She really needed to see him that night. She needed to listen to his voice and see that smirk she has grown so fond of. She needed to escape from the web of lies that the people had spun around her, and if in order to do that Betty would need to disobey her mother and run away from home all by herself, then she was ready to face all the consequences of her acts.

She was ready to walk into the battlefield for him. She was ready to face both the north and the south just to feel that warm sensation that takes over of her chest whenever their eyes meet.

Betty was on her way to meet the one she loves.

And more than ever, he was ready to welcome her in his arms. Even if she wasn’t aware of that.

A chilling breeze was dancing around her trapped, golden locks, and suddenly, the path ahead of hers was illuminated by a pair of distant headlights. The sound of the car’s engine was approaching her ears with each passing second, and even if she was trying to convince herself that whoever was driving that car would simply continue on their merry way, Betty couldn’t keep her heart quiet no matter what. It was racing inside her chest, and as the road ahead of hers got more illuminated by the approaching vehicle, she knew there was no way that person was just going to ignore her lonely and defenseless presence on that empty, ominous street.

The blonde was sweating cold now, her hands were trembling, and when the car finally pulled over just some meters away from her, the Cooper girl realized her night walk wouldn’t be as safe and sound as she had expected it to be when she left home. Even if she was telling herself to run, her feet refused to move any faster, and she felt as if her body slowly started to freeze due to the horror that was taking over her soul at that moment.

That was it, she thought. That was going to be the end of the girl next door, and she wasn’t even going to have a chance to say goodbye to neither her boyfriend nor her family. She wasn’t going to survive to listen to Alice telling her she had told her so. At that moment, all the words her mother has ever said about how the night can be a dangerous place for girl started to cross her mind. She was going to be kidnapped by a stranger and all her perfect organs would be removed and sold in the black market. Her hollow body would be dumped someplace, where it wouldn’t be found until the worms started to make holes around her skin, and she wouldn’t be able to return that book she had taken from the library the day before.

Her perfect records were going to be stained in blood. Her Cooper/ Blossom blood.

Betty was truly afraid for the first time in her short life, and at that moment, she knew a small lamp was not going to save her from that human monster whose steps were right behind her.

She was going to die, she thought.

But not without trying to defend herself. Even if she had nothing in hands to help her, she was not going to simply let that man kill her without trying one, last time.

She is still Elizabeth Cooper after all. And giving up is not in her DNA.

Just as he expected from his girlfriend, for sure.

“ Hey, I finally found you, Bet—“

“ Stay away from me! I’m Forsythe Pendleton Jones the Third’s girlfriend, so you better not hurt me if you don’t wanna suffer the consequences!”

Her eyes were closed, her hands were in front of her face in a defensive position, and no matter how he looked at her, Betty Cooper looked incredibly cute as she was basically waiting to be attacked. She wasn’t trying to hit him, she wasn’t running away and even if he was supposed to be relieved to have found her before any bad person did; Jughead Jones couldn’t hold back the laughter that escaped his lips after he finally realized how she was actually planning on defending herself with those words.

Did she really think that would work?

Probably. And that is one of the reasons why he loves her so much.

Such a silly girl, he thought.

The sound of his familiar laughter was the one thing that made the blonde open her eyes. For she had heard it many times, Betty didn’t need to put up much effort to connect that voice to its respective face. “ Jughead! It’s you!” Her heart skipped a beat, her mouth went agape, and as she watched her boyfriend laughing uncontrollably, the Cooper girl didn’t know if she was supposed to be happy, confused or even mad because of his presence. “ What are you doing here?”

“ Shouldn’t I be the one asking you this, Bets?” He said, wiping a tear that had escaped his right eye. “ You know the South side isn’t the safest place for you, right?”

“… Probably, but—“

“ But it’s not like you’re going to let society tell you where you can and cannot go because of a stupid and ridiculous war, right?” He smirked, saying the words she ever so often repeats, as she knitted her brows at him.

“ Tch… How did you find me?”

“ You know your mother is Alice Cooper, right? She immediately called me and told me you ran away from home. She also said it was my fault and that you would probably be heading towards the Southside.”

“ Did she scream at you?”

“ You bet she did.” Jughead answered, crossing his arms over his chest as he got ready to continue his explanation. " At first, I didn’t believe her, you know? Coming all alone to the Southside would be incredibly dangerous and irresponsible, and most people would be smart enough not to come… But then I remembered it’s Betty Cooper we were talking about, and you would, indeed, do something that stupid if your mind was set on it.” He smirked, earning an angry pout from his girlfriend's heart shaped lips. “ Lastly, finding you wasn’t that hard since you probably just know only one way to my house.”

“ Wow… I could never say you don’t know me, Jughead.” Her eyes widened in a positive surprise, as she placed her hands inside her jacket’s pockets. “ Good work, Sherlock.”

“ Elementary, my dear Wattson.” He placed his hands on his hips, letting a superficial pride take over his body. Betty knew inflating his ego like that was never something healthy, but at that moment, since he was so happy, she figured he deserved his moments of glory. “ I’m a really great detective. Now let’s go back to the car, okay?”

“Of course you are, Jug…” A soft smile crossed her lips, and as her eyes were tenderly looking at him while they walked towards the car; realization finally hit her.

Jughead was standing in front of her. They were together after what felt like weeks, and they were walking side by side towards his dad’s old truck as if it was just another, normal day for them. Even if it was dark, she could see his freckles painting his light skin, his raven curls were escaping his beanie and his jawline was as strong as it has always been.

Even after so long, it was still her Jughead. He was still that same, charming weirdo, and even if he was probably too busy bragging about his flawless deduction, the blonde couldn’t help but be relieved to have him by her side again. That so familiar warm sensation was taking over her heart, and at that moment, Betty felt as if she was being able to breath after so long.

Having him around felt like coming home after a long winter.

Oh, and how homesick she was.

Tears threatened to form around her eyes, but before she could even allow them to run down her cheeks, a wide smile took over her face and prevented her from crying. At that moment, even after they had made all the way to the insides of his car, the raven haired boy was still babbling about something related to how happy her mother would be when he eventually took her home. He was smiling and making weird gestures that resembled her mother, and even if she was supposed to be paying attention to her boyfriend, Betty just couldn’t contain her happiness any longer.

She had to let him know what was inside her heart.

“ Jughead.” She looked to her left, turning her entire body towards him. Her cheeks were now redder due to the higher temperature inside the truck, and she could feel her hot breath coming out as his name rolled out of her tongue.

“ Uh? Don’t you think I should take Sherif Keller’s place?”

“ What?”

“ Were you paying attention?”

“ To be honest, no… I wasn’t. Sorry.”

“Oh, come on, Betty. We haven’t seen each other in so long and you’re not even—“

“ I missed you.”

“ What?” His eyes widened, his mouth went dry and for a moment, he completely forgot about what he had been talking about for the past minutes. His hands fell from the wheels, as he turned his body to face hers. “ What did you say, Betty?”

“ I said…” She started, taking his hand in her own, caressing it with her thumb. “ I missed you, Jughead Jones. And even if it was a stupid idea, I don’t regret walking alone in the middle of the night even with the Angel of Death around the town.”

His eyes were looking at her with all the love in the world now, and at that moment, he couldn’t be any happier for her crazy idea. Just like her, Jughead had also missed her more than he had ever imagined he would. He had really thought a week away from her wouldn’t be that troublesome, but even if he was used to missing the people he loves, things didn’t go as well as he had expected them to go.

Jughead thought he would be able to handle a couple of days without her.

But it didn’t take long for him to realize how hard it was to spend so long without hearing his name rolling out of her tongue, or without those tender eyes of hers looking at him.

Apparently, he is not that same, tough guy he used to be anymore. At least not when it comes to Betty Cooper.

A smile gradually made its way to his lips, as his thumb was slowly drawing circles over her skin, their fingers playing around. His grip around her hands grew tighter, and before he knew it, he was already taking in the inebriating, floral scent of her clothes. “ I missed you, too, Betty Cooper. And to be honest, I was about to do the same thing as you did… But I would’ve probably gone by car and my phone would be charged.”

“ I didn’t have time to charge it, okay? My mom wouldn’t give me the car keys so I just ran off without grabbing anything. Thinking back now, I should’ve at least grabbed my wheel wrench or any of my tools."

“ Oh, but I’m sure you’d have been just fine with that incredible tactic of yours.” He giggled, and without realizing, he had leaned close enough for his words to tickle her lips. " No one would mess with Forsythe Jones the Third’s girlfriend, right?” He smirked, making fun of her silly strategy, again. “ They would probably give up before you even finished my name, though.”

“ Oh, shut up.” She playfully smacked his arm, giggling as she tried her best to restrain her excitement. She knew it had been a bad idea, but at least she had tried something, right?

The car windows were starting to get blurry around them, and when their faces were mere inches apart, his hand finally went up to rest against her left cheek. His cold fingers were caressing her warm skin, sending shivers down her spine due to the temperature shock. Their eyes were half covered by their eyelids, and it didn’t take long before he pulled her closer in a kiss.

Their lips met in a delicate move, as they allowed themselves to get used to that warm and soft sensation they had long missed. Smiles grew in between that kiss as they breathed in each other’s scents, and it didn’t take long before they deepened that chaste kiss, as a sudden passion took over their actions. Tongues were dancing a fast, passionate song, as their lips moved in perfect synchrony.

God, they had missed that feeling. They had missed each other, and at that moment, as they were all alone in that car, neither Jughead nor Betty wanted to hold back those feelings that had spent so long trapped in their chests.

They broke that kiss for a couple of seconds just so he pulled her over his lap. Her legs were straddled over him, and her back was pressed against the car’s wheel.Their chests were going up and down in need of air, and their hearts were beating faster than ever before. Betty had her arms wrapped around his neck, and she could feel his fingers pressed hard against her waist as she leaned down to capture his lips once more, his digits digging in more aggressively whenever she brushed a sensitive place of his mouth.

No words were needed at that moment, for their growing passion was clearly evident in the desperate way they moved their bodies. His lips were now leaving traces down her neck, and whenever he bit her collarbone, a moan escaped her throat, making her body press even closer against his. Betty and Jughead were panting hard, and quickly, they helped each other get rid of their shirts, creating an exciting friction between their bodies. Her breast were still trapped by her bra, but it didn’t stop his lips from exploring the soft skin of that area. His beanie was still covering his raven locks, but not even his crown remained on its place when her fingers decided to explore the natural flow of his dark hair.

The path his fingers were drawing across her skin was driving her insane, and having her body so close to his lower parts was making him lose control. Neither of them could hold back any longer, and with a simple exchange of glares, both of them knew exactly what they should do next.

Her fingers went to his belt, and she soon realized how hard it was to get rid of that thing in that passionate hurry. “ God, dammit.”

“ I can’t believe my ears… Elizabeth Cooper is actually cursing.” He smirked, breathing heavily as he watched her frustrated face. “ The world must be crazy.”

“ Oh, shut up, will you? I think it’s stuck.”

“ No, it’s not.” He chuckled, looking down to where her hands were. “ Here, let me help you, Betts.”

“ No! I got this!” Her loosened hair was falling forward, and he could see the growing tension in her face. She was biting her lip in pure concentration, and even if they were at this really delicate situation, Jughead couldn’t help but think she looked incredibly cute as she tried to unbuckle his pants. She’s a modern and independent girl, and if she didn’t want help, then he wouldn’t give her.

Not when her hands were so close to his—

“ Got it!”

A bubbly smile took over her lips, as she had, indeed, managed to set his pants free. It took her a while, but her eyes, eventually, went up to meet his. Unsurprisingly, she found him already staring at her with his tender eyes, and before she could even finish her job down there, the blonde leaned in once more, pressing her lips against his, moving her head to kiss his jaw, exploring his entire neck and feeling his pulse against her teeth. “ I love you, Jughead.”

“ I love you too, Betty.” A groan escaped his throat, and before he knew it, his fingers were already reaching down to get rid of her own pants. He pulled her head up for another, deep kiss, and Betty enjoyed how slow and patient their love was at that moment.

There was nothing around to interrupt them, as the cold, dark night of the Southside enveloped their forbidden love. She was the perfect girl from the north, and he was the south prodigy. They were trying to live their love hidden from the entire town, and at that moment, that was exactly what they were doing.

No North or South would break them apart.

No civil war would be strong enough to keep them away from each other.

But— oh— a worried mother would certainly put their passion on hold.

It was when his hand was about to reach for her panties that the silence that had settled between them was suddenly interrupted by a weird vibration that was soon followed by Psycho’s, sinister theme song. It was a loud, starling ring tone that filled the air and scared both Betty and Jughead, as it took them some good seconds to realize where that thing was coming from.

“ Oh my god!” Jughead said, almost jumping from his seat as he took his loud cellphone from his pocket. He lifted the device up, and her widened eyes got even bigger when she read ‘ Mrs. C’ displayed on the shining screen.

She couldn’t freaking believe it.

“ Is that my mom?!” She knitted her brows, not truly believing her mother was interrupting them at that very moment.

“ It’s the perfect ringtone, right?” She glared at him when he said so, and even if she couldn’t agree more, that was certainly not the time for jokes. Not when Alice Cooper was calling them in the middle of their lovemaking.

“ God… Just answer her already.”

Jughead nodded, running his fingers through his raven locks. He really had one, amazing mother-in-law. “ Hey, Mrs. C! How are you?… Betty? Yes, she’s here. No, she wasn’t attacked or anything like that. You know you can trust Forsythe Pendleton Jon—“ There was a loud scream coming from the speaker, and Betty only watched her boyfriend’s face shrug with every passing second. Apparently, his name didn’t work with her mother. “ She wants to speak to you.”

A frustrated expression took over her face as her hands reached out for his phone. She took one, deep breath, and finally gathered courage to talk to Norman Bate’s Mother. “ Hey, mom… Yes, I’m fine… Jughead? Yes, he’s taking care of me.” A smirk took over her face as she looked at him. The blonde bit her lower lip, as she fixed the strap of her rosy bra.

“ Tell her I’m taking you home.” He whispered, looking through the window as the chill of the night finally started to hit his exposed skin. Seeing him like that, so serene with those eyes that matched the night, made Betty feel an incredible sadness taking over her senses at the idea of saying goodbye to her boyfriend. When she left home that night, the Cooper girl had initially planned on spending the night with him, and at that moment, as she watched her plans going to waste because of her mother, an idea finally crossed her mind.

“ Sure, mom… Yeah, of course… Actually, I’ll be spending the night at Jug’s tonight.”

“ What!?” He motioned, clearly surprised and scared of her mother’s reaction.

“ It’s gonna be fine, mom.… It’s too dangerous to leave the Southside right now, after all…. His foster-parents are amazing, and they’ve already put Jughead on the couch so I can sleep in his room… You’re already gonna be a grandmother, mom!… Okay okay… Love you, too, bye.”

The blonde girl ended the call, placing his phone beside them on the car’s bench. Her eyes were still looking down, and for the first time that night, seeing her like that was bothering the Jones boy. He didn’t want to say goodbye to his girlfriend that night, and even if that was probably why Alice had first called him earlier, it was only now that he could actually lose her that Jughead felt his chest tightening.

What did her mother say?

Were they really going to his house?

Was he really going to sleep on the couch?

Jughead didn’t know, but he certainly didn’t want to lose her that night.

And as soon as he looked at those tender, shiny eyes of hers, he knew things would be okay.

“ So… Do you mind if I spend the night, Romeo?” She asked him, a blush taking over her cheeks as her hands were still placed over his naked chest.

How could he ever say no that girl?

A side smile crossed his lips, and before he could answer her anything, Jughead leaned in, kissing her one more time. He could feel her lips curling up against his, and at that moment, even if they were going against Alice Cooper herself, he wasn’t afraid.

Family, friends, North or South. Nothing would keep them apart.

Not while they’re in love.

“ You can even have my bed, Juliet." He pecked her lips, again, not moving his head after doing so. “ but there's no way I'm sleeping on the couch.”

#bughead #bughead fanfiction #riverdale #mybugheadfics

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aion-rsa · 8 years ago

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Dark Horse Comics’ May 2017 Solicitations

Dark Horse has provided CBR with covers and solicit information for products shipping in May 2017. When you’re through checking out these solicitations, be sure to visit CBR’s Indie Comics Forum and discuss these Dark Horse releases with fellow readers.

Dark Horse Solicitations – Last Six Months

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Aliens: Dead Orbit #2 (of 4)

James Stokoe (W/A/Cover)

On sale May 31 • FC, 32 pages • $3.99 • Miniseries

Having narrowly escaped the deadly xenomorph, Wascylewski moves around the hold of the ship, wary of his terrifying pursuer. His reflexes are tested again—but this time, by a sudden, massive breach in the hull. Will he survive?

Orc Stain creator James Stokoe pens a thrilling and claustrophobic Aliens story: Dead Orbit!

Look for the Alien: Covenant motion picture on May 19, 2017!

American Gods: Shadows #3

Neil Gaiman’s essential story now in comics!

Neil Gaiman (W), P. Craig Russell (W/A), Scott Hampton (A/C), Walt Simonson (A), Glenn Fabry (Cover), and David Mack (Variant cover)

On sale May 17 • FC, 32 pages • $3.99 • Ongoing

After a bizarre encounter with his dead wife, Shadow Moon is eager to flee Eagle Point and put the past behind him. In Chicago, he is introduced to an eccentric family who seem to be a key part of Mr. Wednesday’s mysterious plans.

The Hugo, Bram Stoker, Locus, World Fantasy, and Nebula Award¬–winning novel and upcoming Starz television series by Neil Gaiman adapted as a comic series for the first time!

A Starz TV show!

“An atmospheric, beautifully illustrated take on Gaiman’s story.”—AV Club

Angel Catbird Volume 3: The Catbird Roars HC

The conclusion to Margaret Atwood’s graphic novel trilogy!

Margaret Atwood (W), Johnnie Christmas (A/Cover), and Tamra Bonvillain (C)

On sale July 4 • FC, 104 pages • $14.99 • HC, 6” x 9”

It’s all-out war in the madcap conclusion to Angel Catbird’s superhero saga. The evil rat army is aiming for world domination, and only a ragtag gang of half-cats stands in their way. Internationally best-selling novelist and animal lover Margaret Atwood pens the conclusion to the dramatic, hilarious, and heartwarming trilogy.

Featuring a foreword by Kelly Sue DeConnick!

“Full of action, romance, humor, and even a message about making our world safe for cats and birds. It’s also beautifully illustrated by Atwood’s collaborators, artist Johnnie Christmas and colorist Tamra Bonvillain.”—Mental Floss

Angel Season 11 #5

Corinna Bechko (W), Zé Carlos (A), Michelle Madsen (C), Scott Fischer (Cover), and Jeff Dekal (Variant cover)

On sale May 24 • FC, 32 pages • $3.99 • Ongoing

Chasing the moment in the past that will bring disaster to the future, Illyria transports Angel and Fred to a new time period . . . One where the pair will have to strive to avoid Angelus, Darla, and pirates on the high seas as they search for a precious artifact that could lead to saving the future!

Baltimore: The Red Kingdom #4 (of 5)

Mike Mignola (W), Christopher Golden (W), Peter Bergting (A), Michelle Madsen (C), and Ben Stenbeck (Cover)

On sale May 3 • FC, 32 pages • $3.99 • Miniseries

The allied armies battle their way through the Vatican on Coronation Day and lose lives along the way, but defeating the Red King will not be as simple as they suspected.

Berserk Volume 38 TP

First new Berserk volume since 2013!

Kentaro Miura (W/A/Cover)

On sale July 5 • b&w, 208 pages • $14.99 • TP, 5 1/8″ x 7 1/4″

Guts and company reach the isle of Skellig in hopes that elven magic can cure the afflicted Casca. Meanwhile, Guts’s Band of the Hawk comrade Rickert journeys to Falconia, the seat of power for Griffith, the Hawks’ former commander. But the glittering towers of Falconia cast deadly shadows!

Over a million copies sold of Dark Horse Berserk manga!

One of the most popular long-running adult manga series ever published.

New Berserk anime TV series to air in 2017.

Black Hammer #9

Jeff Lemire (W/Variant cover), David Rubín (A/C/Cover), and Dave Stewart (C)

On sale May 24 • FC, 32 pages • $3.99 • Ongoing

In the golden age of space exploration, Colonel Randall Weird was on the frontlines. In his interstellar travels he encountered many strange worlds and alien civilizations, but none more curious than the technological marvel that became his best friend: Talky-Walky! Guest artist David Rubín reveals her robotic backstory in this special issue of Black Hammer!

“Black Hammer isn’t just a five-star comic, it’s a five-star series and it has taken fans by storm.”—All-Comic

Featuring guest artist David Rubín (Ether)!

The Black Sinister HC

Kaare Andrews (W), Troy Nixey (A/Cover), and Dave McCaig (C)

On sale July 26 • FC, 72 pages • $9.99 • HC, 7” x 10”

A pitch-black tale of a city that lives in fear—not of crime or gangs, but the billionaire vigilante sworn to protect them.

Emerson Black’s superhero identity is no secret: patrolling the night skies as the Black Sinister, he enforces his own brand of psychotic justice, no matter the cost. Joined by his unhinged butler Danby, Emerson protects the citizens of Coal City from kidnappers, gangs, and jaywalkers alike. But who will protect the city from the Black Sinister? And what happens when the mayor hatches a plan to finally rid Coal City of its deranged antihero?

From the creator of Renato Jones, and the artist on Lobster Johnson and director of Guillermo del Toro’s horror masterpiece Don’t Be Afraid of the Dark!

An original graphic novel for only $10!

Blade of the Immortal Omnibus Volume 3 TP

Hiroaki Samura (W/A/Cover)

On sale July 5 • b&w, 656 pages • $19.99 • TP, 5 3/4″ x 8 1/4″

Over 650 pages of samurai battles and bitter rivalries! Rin’s seemingly immortal protector, Manji, is helping her destroy the eccentric, bloodthirsty Ittō-ryū sword school. While Manji has his hands full with a trio of devious assassins, Rin decides to make her way across Edo in a solo search for the murderous Anotsu Kagehisa!

Get deep into the series before the 2017 film!

Hiroaki Samura’s award-winning epic continues in value-priced collections!

Buffy the Vampire Slayer Season 11 #7

Christos Gage (W), Rebekah Isaacs (A/Variant cover), Dan Jackson (C), and Steve Morris (Cover)

On sale May 24 • FC, 32 pages • $3.99 • Ongoing

Having determined that breaking out of the Safe Zone is impossible, Buffy and Willow struggle with the decision of having their magic removed so that they can return to the world outside—in the hopes that breaking in to the magical internment camp might go easier. But once their magic is gone, will two normal human girls be able to succeed?

Catch “deleted scenes” on the variant covers!

“Any Buffy fan is going to be stoked about this new series, Season 11, and a new story arc of awesomeness!”—ComicWow TV

The Complete Doc Unknown HC

Fabian Rangel Jr. (W) and Ryan Cody (A/Cover)

On sale July 19 • FC, 360 pages • $24.99, 6” x 10”

After crash-landing his fighter plane during World War II, Warren Williams is taken in and trained by the warrior monks of the secret temple of Min-Yao. After a Nazi ambush, Warren returns to Gate City as Doc Unknown, a mystery man on the side of light in a world being consumed by darkness.

Read as Doc Unknown must protect Gate City from ruthless gangsters, monstrous mobsters, possessed museum attractions, evil secret societies, vampire ninjas, vengeful ghosts, hypnotizing fish-women, and much more!

Pinups by Mike Mignola, Eric Powell, and more.

Conan the Slayer #10

Cullen Bunn (W), Sergio Dávila (A), Michael Atiyeh (C), and Phroilan Gardner (Cover)

On sale May 31 • FC, 32 pages • $3.99 • Ongoing

Where once was an abandoned ruin, the glittering city of Xapur suddenly rises again. Conan, drawn by deceit to the ancient necropolis, is now lost in this resurrected fortress . . . but he is not alone. For the demon Khosatral Khel, the Devil in Iron, walks the streets once more!

“I am not sure what it is, but Bunn-Dávila-Atiyeh have nailed it. Conan is in fine hands in this title, and I really am eager to see the next issue!”—Outright Geekery

Dark Horse Presents #34

Eisner and Harvey award winner!

Ron Randall (W/A), Carla Speed McNeil (W), Jim Alexander (W), Shannon Wheeler (W/A), Will Pickering (P), Fin Cramb (P), and Steve Rude (Cover)

On sale May 17 • FC, 48 pages • $4.99 • Ongoing

This month’s issue features new installments of Shannon Wheeler’s Too Much Coffee Man; Ron Randall’s Trekker: The Volstock Payoff; Carla Speed McNeil’s Finder: Chase the Lady; Jim Alexander, Will Pickering, and Fin Cramb’s Savant; and much more!

“Dark Horse Presents . . . is a must-read for any and all comic book fans, both casual and hardcore.” —Comic Booked

Dept. H #14

Matt Kindt (W/A/Cover) and Sharlene Kindt (C)

On sale May 24 • FC, 28 pages • $3.99 • Ongoing

Unable to return to the surface, the surviving crew of Dept. H must make some difficult choices, with air and livable space at a premium. Will they have to sacrifice one of their own in order for the rest to survive? Meanwhile, we begin to see the larger role that Verve has played in the fate of our crew.

Featuring content exclusive to the single issues!

“Kindt breaks all pre-conceived notions of what comic books are.”—IGN

Dept. H Volume 2: After the Flood HC

Matt Kindt (W/A/Cover) and Sharlene Kindt (C)

On sale July 5 • FC, 168 pages • $19.99 • HC, 7” x 10”

Six miles below the surface of the ocean, Mia has to solve a locked-room murder mystery before the crime scene is completely flooded. As the crew tries to save the Dept. H base from destruction, some of them start to take matters into their own hands. But the bottom of the ocean is full of unknown dangers, and with time running out, rescue is almost impossible. Collects issues #7-#12.

A complete arc! A perfect jumping-on point for new readers!

“[Kindt’s comics are] nothing short of genius.”—Jesse Alexander, producer of Lost

DOTA 2: The Comic Collection HC

Valve Corporation (W/A)

On sale July 19 • FC, 200 pages • $24.99 • HC, 11” x 9”

Valve Corporation and Dark Horse Books are proud to present this complete collection of the web comics produced by Valve that dive deeper into the many characters and events from the game. Collected for the first time ever, DOTA 2: The Comic Collection is a must-have item for comics fans and DOTA heroes alike.

Dragon Age: Knight Errant #1 (of 5)

Nunzio DeFilippis (W), Christina Weir (W), Fernando Heinz Furukawa (A), Michael Atiyeh (C), and Sachin Teng (Cover)

On sale May 10 • FC, 32 pages • $3.99 • Miniseries

BioWare’s best-selling fantasy franchise lives on in these canonical comics from Dark Horse!

Elven squire Vaea and her knight arrive in Kirkwall for Varric Tethras’s appointment as viscount. A talented thief, Vaea takes on an easy job . . . but when she chooses to change the terms of the deal midheist, she is entangled in a dangerous mission that is surely above her pay grade.

An essential addition to the Dragon Age canon!

Covers by Sachin Teng!

Ether Volume 1: Death of the Last Golden Blaze TP

Matt Kindt (W) and David Rubín (A/Cover)

On sale July 19 • FC, 152 pages • $14.99 • TP, 7” x 10”

A science-minded adventurer gets mixed up in the mysteries of a fantasy world in this charming new adventure from an award-winning creative team. Boone Dias is an interdimensional explorer, a scientist from Earth who has stumbled into great responsibility. He’s got an explanation for everything, so of course the Ether’s magical residents turn to him to solve their toughest crimes. But maybe keeping the Real and the Abstract separate is too big a job for just one man. Collects issues #1–#5.

“Kindt is one of the smartest genre writers in comics.”—Mental Floss on Ether

Game of Thrones Character Magnet Set 3

On sale June 28 • 6 Magnets • $8.99

Set is 7.75” x 10” in plastic sleeve. Includes five character magnets and a Game of Thrones logo magnet.

Game of Thrones Journal: Daenerys and Drogon

On sale June 28 • 128 pages • $9.99

The latest journal from our Game of Thrones line of products. 5 1/2” x 8 1/2” spiral- bound journal.

Gary Gianni’s MonsterMen and Other Scary Stories TP

Gary Gianni (W/A/Cover)

On sale July 5 • b&w, 168 pages • $19.99 • TP, 8” x 10″

Gary Gianni created one of the strangest occult detective teams in comics history: millionaire filmmaker Lawrence St. George and his associate, Benedict, of the venerable guild of Corpus Monstrum. They navigate a peculiar and deadly world plagued by squid pirates, zombie cowboys, abominable snowmen, mustachioed skulls, and fat, flying demons.

Gianni’s meticulous and evocative art combined with his haunting but often hilarious writing create a horror comic unlike anything else on the stands. This book also includes classic prose stories by Robert E. Howard, Clark Ashton Smith, and more, illustrated by Gianni.

Hot off the success of Hellboy: Into the Silent Sea, Gianni’s original masterpiece returns in paperback!

“These are (along with a few issues of Stan and Jack’s Fantastic Four) my all time favorite comic book stories.”—Mike Mignola

“Gianni is a master—The MonsterMen leaves no doubt: the dude knows how to rock a comic book page.”—Michael Chabon

Glister TP

Andi Watson (W/A/Cover)

On sale July 5 • FC, 304 pages • $14.99 • TP, 6” x 9”

Strange things happen around Glister Butterworth. A young girl living on her family’s English estate, Glister has unusual adventures every day, like the arrival of a teapot haunted by a demanding ghost, a crop of new relatives blooming on the family tree, a stubborn house that walks off its land in a huff, and a trip to Faerieland to find her missing mother.

All four Glister stories collected into a value priced edition!

Perfect for younger readers!

The Guild Library Edition Volume 1 HC

Various (W/A)

On sale July 12 • FC, 288 pages • $49.99 • HC, 8” x 12”

Set before the web series begins, these stories follow lonely violinist Cyd Sherman trying to navigate a frustrating personal life as she stumbles on an online MMO called The Game. As she gathers friends in-game, she gains confidence to confront all the problems in her real life. With, ahem, varying results.

The Guild is a pioneer among web series, referred to by Rolling Stone as one of “the net’s best serial shows.” Heartwarming and hilarious, this is a comic origin story that brings an award-winning world to life in a unique way that will delight geeks of all ages. Especially gamers. Collects The Guild #1–#3, The Guild: Vork, The Guild: Tink, The Guild: Bladezz, The Guild: Clara, and The Guild: Zaboo.

Harrow County #23

Cullen Bunn (W) and Tyler Crook (A/Cover)

On sale May 10 • FC, 32 pages • $3.99 • Ongoing

The death of one of Harrow County’s most powerful magical forces leaves a void in Mason Hollow. Bernice is forced to choose between her oldest friend and her own future when she’s offered powers beyond her wildest dreams . . . and the chance to save her home from destruction!

Featuring special backup stories exclusive to the single issues!

“One of the books I forward to every month, Harrow County delivers another quality issue.”—Comics The Gathering

H. P. Lovecraft’s The Hound and Other Stories TP

Gou Tanabe (W/A/Cover)

On sale July 12 • b&w, 184 pages • $12.99 • TP, 5” x 7 1/8”

A pair of decadent young men pursue the abhorrent thrill of grave robbing . . . A German submarine’s crew is driven mad by the call of an underwater temple . . . An explorer in the Arabian Desert discovers a hideous city older than mankind. This moody and evocative manga gets back to the dark foundations of the Cthulhu mythos, adapting three of H. P. Lovecraft’s original stories that first shaped the outlines of cosmic horror!

Artist Gou Tanabe’s first publication in English!

Gou Tanabe is a favorite creator of Taiyo Matsumoto (Sunny, Tekkonkinkreet).

From Japan’s magazine Comic Beam, acclaimed home of the manga Thermae Romae, Emma, and Wandering Son.

I Am a Hero Omnibus Volume 4 TP

Kengo Hanazawa (W/A/Cover)

On sale July 26 • FC, 480 pages • $19.99 • TP, 5 1/8” x 7 1/4″

Now subservient to a band of strange men with odd postapocalyptic survival rules, will Hideo find a way to escape this desperate group at an outlet mall and rescue the sick, partially mutated Hiromi? This hit manga series is presented in a deluxe omnibus format, collecting two of the original Japanese volumes into each Dark Horse edition.

A worldwide best-selling series—finally in English!

Winner of the esteemed Shogakukan Manga Award and now a feature film!

Joe Golem: Occult Detective—The Outer Dark #1 (of 3)

Mike Mignola (W), Christopher Golden (W), Patric Reynolds (A), Dave Stewart (C), and Dave Palumbo (Cover)

On sale May 31 • FC, 32 pages • $3.99 • Miniseries

Two years after he killed a child-snatching monster and stopped an undead takeover in the Drowning City, occult detective Joe Golem searches for a man with superhuman strength who is attacking citizens under orders from the otherworldly voices in his head. But Joe has his own demons to wrestle with . . .

“Joe Golem continues to be everything you could possibly want it to be. Mike Mignola and Christopher Golden are a heck of a team, and Patric Reynolds continues to complement them perfectly by bringing unique worlds to life stunningly with his art.”—Big Comic Page

Kill All Monsters! Omnibus Volume 1 HC

Robots! Monsters! Destruction!

Michael May (W) and Jason Copland (A/Cover)

On sale July 19 • b&w, 368 pages • $24.99 • HC, 9” x 6”

Monsters rule the world. Humanity’s last hope is a squad of giant robots and their skilled pilots, all from different backgrounds, each with a unique reason to fight. Can we survive the conflict? Are we worth saving? A familiar but wholly original story about war, survival, and the human spirit, told through gigantic-scale battles fought by memorable characters! Contains nearly 200 pages of new story, in addition to collecting the entire hit web comic!

A complete and original adventure inspired by giant-monster movies!

The first half of the story was funded through a successful Kickstarter earning five times the initial pledge goal!

Lead Poisoning: The Pencil Art of Geof Darrow HC

Geof Darrow (W/A/Cover)

On sale July 5 • FC, 128 pages • $34.99 • HC, 9” x 12”

Geof Darrow’s slick, precise inks and stunning detail have amazed comics fans for decades, from his early work with Moebius to Hard Boiled, his first collaboration with Frank Miller, to the overwhelming success of his current series, The Shaolin Cowboy.

Now Darrow provides incredible insight into his process by sharing the pencil drawings behind his meticulous inks in a huge hardcover collection. Featuring well-known covers and never-before-seen drawings alike, Lead Poisoning is a behind-the-scenes look that reveals perfectionism at its best, showing how clean and perfect the initial drawings can be as well as the bizarre alterations that appear to happen on the fly.

Featuring commentary by Darrow and his notable peers, Lead Poisoning: The Pencil Art of Geof Darrow is a hardcover that brings you right to Darrow’s drawing board.

“Geof Darrow is a master . . . His combination of technical ability and a genuinely individual voice is an inspiration for me and for generations of other artists across the world.”—Frank Quitely

The Legend of Korra Coloring Book TP

Jed Henry (A/Cover)

On sale July 12 • b&w, 96 pages • $14.99 • TP, 10” x 10”

Avatar Korra meets the adult coloring book craze! This beautiful book comes packed with forty-five highly detailed, black-and-white images to color however you choose! With illustrations by artist Jed Henry, and produced in close collaboration with creators Michael Dante DiMartino and Bryan Konietzko, this book is a must-have for all Korra fans!

Includes 45 pieces of beautifully detailed, original black-and-white artwork!

Artwork by Jed Henry (Avatar: The Last Airbender Coloring Book)!

Lobster Johnson: The Pirate’s Ghost #3 (of 3)

Mike Mignola (W), John Arcudi (W), and Tonci Zonjic (A/Cover)

On sale May 24 • FC, 32 pages • $3.99 • Miniseries

The Lobster’s search for a missing reporter comes to an explosive end aboard a pirate ship.

Manara Library Volume 2: El Gaucho and Other Stories TP

Hugo Pratt (W) and Milo Manara (A/Cover)

On sale July 12 • FC, 280 pages • $29.99 • TP, 8” x 10”

The second volume of Manara Library, in a paperback edition at last!

This volume features the enthralling historical epic El Gaucho, the second of Manara’s storied collaborations with his mentor, Hugo Pratt, as well as Trial by Jury, a series of captivating shorts in which some of history’s most notorious figures undergo mock trials.

The only comprehensive English collection of Manara’s work.

Mass Effect: Discovery #1 (of 4)

Jeremy Barlow (W), John Dombrow (W), Gabriel Guzmán (A/Cover), Michael Atiyeh (C), and Kate Niemczyk (Variant cover)

On sale May 24 • FC, 32 pages • $3.99 • Miniseries

A young Turian military recruit goes undercover in order to infiltrate the mysterious Andromeda Initiative—and ultimately retrieve a scientist who’s made a potentially devastating discovery. Tying in to the highly anticipated release of Mass Effect: Andromeda, writers Jeremy Barlow and John Dombrow and artist Gabriel Guzmán team up to create the next exciting chapter of the Mass Effect comics series!

From Eisner Award–nominated writer Jeremy Barlow!

Direct tie-in with Mass Effect: Andromeda for PlayStation 4 and Xbox One!

Top secret variant cover by Kate Niemczyk!

The Once and Future Queen #3 (of 5)

Adam P. Knave (W), D.J. Kirkbride (W), and Nickolas Brokenshire (A/Cover)

On sale May 10 • FC, 32 pages • $3.99 • Miniseries

Rani, Gwen, and Lance stumble across an important discovery that changes the rules of the game. The choices they make send them headlong into mortal danger as their relationships expand and deepen—will the old Arthurian tales be repeated?

Predator: Hunters #1 (of 5)

The hunters become the hunted!

Chris Warner (W), Francisco Ruiz Velasco (A/Variant cover), and Doug Wheatley (Cover)

On sale May 3 • FC, 32 pages • $3.99 • Miniseries

Space aliens have been coming to Earth for centuries—but not with any message of brotherhood or peace. They’re here to hunt the toughest, most dangerous humans they can find. Only now their former prey have teamed up against them. Predators, watch your backs!

Written by Predator comic series veteran Chris Warner!

Art by Francisco Ruiz Velasco.

Covers feature special metallic ink!

Rebels: These Free and Independent States #3 (of 8)

Brian Wood (W), Andrea Mutti (A), Lauren Affe (C), and Matthew Taylor (Cover)

On sale May 24 • FC, 32 pages • $3.99 • Miniseries

John Abbott, considerably wiser and more guarded after recent events, is faced with the prospect of relocating to the Caribbean to help outfit the merchant navy with arms. With the completion of the USS Constitution on the horizon, he has little leverage to escape the assignment. Next stop: Nassau—and the Quasi-War with France!

“Absolutely entertaining, and thought-provoking. In today’s world where we’re still debating liberty and tyranny, Rebels is yet another timely relevant comic.”—Graphic Policy

Serenity: No Power in the ’Verse HC

Chris Roberson (W), Georges Jeanty (A), Stephen Byrne (A), Karl Story (I), Wes Dzioba (C), and Dan Dos Santos (Cover)

On sale July 26 • FC, 152 pages • $19.99 • HC, 7” x 10”

When a call for help to find a missing friend takes them to an Alliance post on the Outer Rim, they encounter a new force building strength to fight the battle of the Browncoats. Discovering that their friend is in Alliance custody and that an Alliance Operative is on the way, Mal strikes an uneasy partnership for a daring rescue. Collects issues #1–#6 of the series and the 2016 Free Comic Book Day story “Serenity: The Warrior and the Wind.”

Georges Jeanty (Buffy Seasons 8–9, Serenity) returns to the ’verse!

iZombie creator Chris Roberson writes the continuing adventures of Mal and the crew.

“Serenity: No Power in the ’Verse is the start of something new, though still familiar territory in terms of obstacles this crew must overcome dealing with each other. There is a lot of potential in this new chapter as long as it feels as though we are moving forward in a ’verse that is on edge.”—Geeked Out Nation

Shadows on the Grave #4 (of 8)

Richard Corben (W/A/Cover)

On sale May 10 • FC, 32 pages • $3.99 • Miniseries

A bodybuilder desperate for victory will literally kill for a chance to win, but must pay the price that comes with it; a thief at a carnival is thwarted by a vengeful clown; and in the next installment of Denaeus, the hero leads an attack against the Cyclops Monoculus but finds even greater danger elsewhere.

32 pages of story, no ads!

New stories from the 2012 Eisner Hall of Fame inductee!

“Shadows on the Grave is as fun and clever as it is horrific. You’ll smile, even laugh at parts, while other moments will make you cringe and wince. That’s the point. This book is the product of a true master who knows exactly what he’s doing.”—All-Comic

The Shaolin Cowboy: Who’ll Stop the Reign? #2 (of 4)

Geof Darrow (W/A/Cover), Frank Cho (Variant cover), and Dave Stewart (C)

On sale May 24 • FC, 32 pages • $3.99 • Miniseries

The Shaolin Cowboy hits town, and it hits back. With King Crab in hot pursuit, he runs straight into the not-so-kosher menace of HOG KONG and his twisted tale of ham-fisted revenge. High-cholesterol-fueled action served up hot with plenty of chasers!

The Usagi Yojimbo Saga: Legends TP & Ltd. Ed. HC

Stan Sakai (W/A/Cover)

On sale July 26 • b&w, 560 pages • $24.99 • TP, 7” x 10”

On sale July 26 • b&w, 560 pages • $79.99 • Ltd. Ed. HC, 7” x 10”

Dark Horse presents the quintessential companion to the Usagi Yojimbo Saga series—Usagi Yojimbo Saga: Legends! In this volume, Usagi takes on a myriad of opponents, but never loses sight of the warrior’s code: truth, honor, loyalty, and sacrifice. Collects some of the rabbit ronin’s most exhilarating stories, including Senso, Yokai, and the long-out-of-print Space Usagi!

540 beautiful pages, including a breathtaking color section!

Usagi Yojimbo Volume 31: The Hell Screen Ltd. Ed. HC

Stan Sakai (W/A/Cover)

On sale July 12 • b&w, 208 pages • $59.99 • Ltd. Ed. HC, 6” x 9”

In this thrilling volume, the rabbit ronin teams up with—and faces off against—a multitude of unexpected characters: destitute bandits, a renegade kappa, and a komori ninja! Then, Inspector Ishida returns to investigate a ghastly painting known only as the Hell Screen! Collects Usagi Yojimbo issues #152–#158.

Foreword by Cullen Bunn (Harrow County, Conan)!

“Stan Sakai continues to show why this book is deserving of all the praise it receives.”—SciFiPulse

The Visitor: How and Why He Stayed #4 (of 5)

Mike Mignola (W), Chris Roberson (W), Paul Grist (A/Cover), and Bill Crabtree (C)

On sale May 31 • FC, 32 pages • $3.99 • Miniseries

The Visitor alerts the BPRD as increasing numbers of Ogdru Hem attack, and the challenges of being an alien on Earth take a toll.

Jack Staff creator Paul Grist presents the strangest Hellboy spinoff yet!

W. B. DuBay’s The Rook Archives Volume 2 HC

William B. DuBay (W), Luis Bermejo (A), Alex Niño (A), Abel Laxamana (A), Jose Ortiz (A), and Jordi Penalva (Cover)

On sale July 5 • b&w, 152 pages • $19.99 • HC, 8” x 10”

Time is no obstacle to Restin Dane, the Rook, who uses his chesspiece-shaped Time Castle to face danger millions of years in the past or eons into frightening futures. Joined by his gunfighter grandfather and a team of oddball robots, the Rook will go anywhere—any time—in search of adventure! Collects Rook stories from Eerie #89–#95, and #98.

Selected from the pages of Eerie magazine.

DuBay’s swashbuckling time traveler went from being Warren Publishing’s most popular feature to being published in seventeen languages.

The post Dark Horse Comics’ May 2017 Solicitations appeared first on CBR.com.

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IDW has so much great stuff on sale this week, and we have a look at all of it for you. Here’s the IDW Publishing Previews for 1-25-2017.

Back to the Future: Biff to the Future #1 (of 6)

Writer: Bob Gale, Derek Fridolfs Artist: Alan Robinson Cover Artist: Alan Robinson

When Old Biff Tannen travels to the past to give his younger self the Grays Sports Almanac, he opens a lethal Pandora’s Box that drastically changes the course of history. In the BTTF movies, Doc and Marty save the day — but what happens in Biff Tannen’s dystopia before they do? Find out in BIFF TO THE FUTURE, the alternate life story of Biff Tannen detailing his diabolical rise to power, his dangerous relationship with the McFly family and Doc Brown, and his ultimate demise. The apocalypse has got nothing on the kinds of trouble a Tannen can make! Written by BTTF co-creator Bob Gale with Derek Fridolfs (Batman) and illustrated by Alan Robinson (BTTF: Citizen Brown).

FC • 32 pages • $3.99

Bullet points:

Variant cover by Anthony Marques!

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BATMAN/TMNT Adventures #3 (of 5)

Writer: Matthew K. Manning Artist: Jon Sommariva Cover Artist: Jon Sommariva

A fiendish alliance unfolds behind the scenes, unbeknownst to Batman and the TMNT as they are forced to fight a Poison Ivy-powered Snakeweed!

Bullet points:

New team-ups and classic characters return!

Variant cover by Billy Martin!

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Comic Book History of Comics #3 (of 6)

Writer: Fred Van Lente Artist: Ryan Dunlavey Cover Artist: Ryan Dunlavey

The inspiring, infuriating, and utterly insane story of comics, graphic novels, and manga continues in four-color glory! This issue, the award-winning Action Philosophers team of Fred Van Lente and Ryan Dunlavey bring you ROMANCE, WAR, and CRIME comics galore!

FC • 32 pages • $3.99

Bullet points:

Featuring variant covers with all-new historically inspired comic strips by Van Lente and Dunlavey!

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D4VEocracy #1 (of 4)

Writer: Ryan Ferrier Artist: Valentin Ramon Cover Artist: Valentin Ramon

Ryan Ferrier and Valentin Ramon are back with D4VEOCRACY, the third arc of the acclaimed D4VE series. In the wake of a robo-political assassination, D4VE begins a presidential campaign. A hip new app startup has other plans for the robot society, however, and creates the perfect political rival.

FC • 32 pages • $3.99

Bullet points:

From the acclaimed creative team of D4VE, D4VE2, and HOT DAMN!

“…this book is funny. Not chuckle-quietly-to-yourself funny, but actual laughing-out-loud-in-public funny.” – IGN

“A sardonic satire of modern society that’s as funny as it is true…a series that will continue to delight.” – Multiversity

“…a fully developed future world that ingeniously blends technological fantasy with the mundane reality of domestic life.” – The AV Club

“D4VE is one of my favourite comics of the year. Very high quality work from Ryan Ferrier and Valentin Ramon!” – Fiona Staples

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G.I. JOE #2

Writer: Aubrey Sitterson Artist: Giannis Milonogiannis Cover Artist: • Aaron Conley

G.I. Joe’s mission in Mongolia gets underway, but the Dreadnoks and Crystal Ball have more allies than the Joes expect. And meanwhile, Lady Jaye and Gung Ho stumble upon a familiar enemy in Greece…

FC • 32 pages • $3.99

Bullet points:

Part of IDW’s Artist’s Edition Cover Month!

Spinning directly out of the events of IDW’s Revolution event!

Variant cover by Corey Lewis!

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G.I. JOE: A Real American Hero #236

Writer: Larry Hama Artist: S L Gallant Cover Artist: S L Gallant

As Cobra Commander continues his scheme to start the Cobra World Order, Destro and Baroness begin to bring their own contingency into play…

FC • 32 pages • $3.99

Insufferable: Home Field Advantage #4

Writer: Mark Waid Artist: Peter Krause Cover Artist: Peter Krause

The lives of Nocturnus, Galahad and Meg hang by a thread as the INSUFFERABLE saga comes to a climax! Lives, worlds and relationships will be shattered, and there’s little guarantee that the day will be saved. Fingers crossed!

FC • 32 pages • $3.99

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Jack Kirby’s Fantastic Four: Artist’s Edition HC—SPOTLIGHT

Writer: Stan Lee Artist: Jack Kirby Cover Artist: Jack Kirby

Jack Kirby’s Fantastic Four. World-shattering events, cosmic calamities, and Kirby Krackle—does it get any better?

Jack Kirby is the most important creator in the history of comics, and the Fantastic Four is one of his greatest achievements. First published in 1961, the adventures of Mr. Fantastic, the Human Torch, the Invisible Girl and the ever-loving Thing introduced a bold new era in comics. Kirby’s dynamic storytelling, coupled with Stan Lee’s poignant writing style, were unlike anything comic book readers had seen before—it literally ushered in THE MARVEL AGE OF COMICS!

Now, with the cooperation of the Jack Kirby Estate and under license from Marvel Comics, IDW is proud to present the first Jack Kirby Fantastic Four Artist’s Edition! Including Fantastic Four Annual #6, the 48-page groundbreaking story that featured the birth of Franklin Richards! Also presenting issues #82 and #83, guest starring the Inhumans–plus more stories and and a beautiful gallery section of some of Kirby’s most incredible pages, all scanned from the original art!

HC • BW • $Please Inquire • 144 pages • 12” x 17” • ISBN: 978-1-63140-831-1

Bullet points:

Celebrate the 100th birthday of the King of Comics with IDW Publishing—Artist’s Edition style!

Jem and the Holograms #23

Writer: Kelly Thompson Artist: Meredith McClaren Cover Artist: Meredith McClaren

THE STINGERS part 5! It all comes down to this! The Misfits latest attempt to ruin Jem & The Holograms comes to fruition, and with Jem and The Holograms performance officially sabotaged will The Misfits have finally succeeded? Or will Jem and The Holograms live to fight—‘er sing!—another day!? Meanwhile, recent events mean The Stingers are shaping up to be not just reasonably friendly adversaries, but potential nemeses. Can Jem and The Holograms really have TWO nemeses?!?

FC • 32 pages • $3.99

Bullet points:

THE STINGERS arc ends here!

Variant cover by Gisele Lagace!

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Joe Hill: The Graphic Novel Collection

Writers: Joe Hill, Stephen King, Jason Ciaramella, Chris Ryall Artists: Zach Howard, Nelson Dániel, Charles Paul Wilson III, Vic Malhotra Cover Artist: Shane Pierce

New York Times #1 Best Seller Joe Hill is the creative force behind this collection of comic one-shots, short stories and graphic novels that showcase the world-building and bone-chilling talents of the famed Locke & Key creator. This deluxe hardcover includes: Kodiak (2010) with illustrations by Nat Jones, The Cape (2010) and The Cape 1969 (2011) illustrated by Zach Howard, Thumbprint (2013) illustrated by Vic Malhotra, Wraith (2014) with illustrations by Charles Paul Wilson III, plus the short stories “Throttle” (2009) from the Road Rage collection and “By the Silver Water of Lake Champlain” (2012) taken from 2016 Bram Stoker Award Winner Shadow Show: All New Stories in Celebration of Ray Bradbury. Fans of comic books, horror and Hill, take note.

HC • FC • $49.99 • 472 pages • 7” x 11” • ISBN: 978-1-63140-768-0

Bullet points:

Advance solicited for December release!

“Over the course of a decade, Joe Hill has gone from ‘promising new horror writer’ to one of the industry’s most reliably striking, exciting creators.” — V. Club

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Mickey Mouse: Shorts, Season One

Writers: Paul Rudish, Scott Tipton Artist: Paul Rudish Cover Artist: Paul Rudish

Join Mickey, Minnie, and all their pals in a comic adaptation of the celebrated multi-Emmy and Annie Award-winning shorts from Disney Television Animation!

TPB • FC • $19.99 • 132 pages • ISBN: 978-1-63140-814-4

Bullet points:

“It could almost double as an ‘Art of…’ book. Irreverent and fun, it’s capable of making you grin broadly the entire time you’re reading it.” –Multiversity Comics

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Mickey Mouse: Timeless Tales, Vol. 2

Writer: Romano Scarpa, Andrea “Casty” Castellan, Giorgio Cavazzano, Jonathan Gray, David Gerstein, Joe Torcivia Artist: Romano Scarpa, Andrea “Casty” Castellan, Giorgio Cavazzano, Jonathan Gray, David Gerstein, Joe Torcivia Cover Artist: Andrea “Casty” Castellan

“Omigosh!” IDW’s Mickey Mouse issues #7–12 land in a luxurious, limited collectors’ volume… with epic tales by Romano Scarpa and Andrea “Casty” Castellan, featuring the return of Atomo Bleep-Bleep, the quest for “The Chirikawa Necklace,” and the debut of Pegleg Pete’s sinister main squeeze, Trudy Van Tubb! Including archival extras for true Disney Comics aficionados, this extra-thick Mickey tome brings hours of thrills and comics history!

HC • FC • $29.99 • 256 pages • 7.25” x 10” • ISBN: 978-1-63140-801-4

Bullet points:

“A collection of different MICKEY MOUSE comics across various eras of the character that tell you absolutely why he and his comics have stood the test of time.” –Comicsverse

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Micronauts Annual 2017

Writer: Cullen Bunn Artist: Marcelo Ferreira Cover Artist: Marcelo Ferreira

The Micronauts have encountered many strange allies and enemies since they became stranded on Earth, a planet of giants, but perhaps none have been as unexpected as those awaiting them here. As we explore the origins of the various Micronauts, the team encounters a future version of… themselves? Are they friend or foe?

FC • 48 pages • $7.99

Bullet points:

Part of IDW’s 2017 Annual Offensive! Over-sized and action-packed key stories in a deluxe format!

Explore the origins of some of today’s most popular Micronauts characters in this can’t-miss annual!

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Micronauts #9

Writer: Cullen Bunn Artist: Max Dunbar Cover Artist: Max Dunbar

The Micronauts are stranded on a world full of giants, but they may not be as far from home as they thought. Relics from Microspace are all around, and allies–and enemies–from the microscopic universe have found their way to Earth!

FC • 32 pages • $3.99

Bullet points:

The Micronauts adventures on Earth continue!

Introducing all-new characters into the Micronauts mythos!

Part of IDW’s Artist’s Edition Cover Month!

Variant cover by K. Woodward!

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My Little Pony: Friends Forever #36

Writer: Christina Rice Artist: Tony Fleecs Cover Artist: Tony Fleecs

Rainbow Dash travels to a remote and dangerous location and finds her fellow Wonderbolt, Soarin, is about to undertake a dangerous mission. Will Dash be able to get over her ego help her fellow Pegasus?

FC • 32 pages • $3.99

Bullet points:

Part of IDW’s Artist’s Edition Cover Month!

Variant cover by Low Zi Rong!

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Optimus Prime #3

Writer: John Barber Artist: Kei Zama Cover Artist: Kei Zama

An uneasy peace between Optimus Prime and the newly arrived Junkions is threatened by Soundwave’s discovery within their massive ship…

FC • 32 pages • $3.99

Bullet points:

Part of IDW’s Artist’s Edition Cover Month!

Variant cover by Joana Lafuente!

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Revolution

Writers: John Barber, Cullen Bunn Artist: Fico Ossio Cover Artist: Tradd Moore

Explosions rip across the Earth—and all signs of blame point to OPTIMUS PRIME and the TRANSFORMERS! G.I. JOE refuses to go quietly—and they assemble heroes big enough to stop the invaders! ACTION MAN and M.A.S.K. fight for humanity—but where do ROM and the MICRONAUTS stand? Celebrating more than a decade of stories by IDW and HASBRO, this unprecedented event draws everything together—and leaves nothing standing. The REVOLUTION is here—TAKE A STAND! Collects Revolution issues #0–5.

TPB • FC • $19.99 • 152 pages • ISBN: 978-1-63140-816-8

Bullet points:

THE REVOLUTION BEGINS!

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Star Trek/Green Lantern Vol 2 #2 (of 6)

Writer: Mike Johnson Artist: Angel Hernandez Cover Artist: Angel Hernandez

STRANGER WORLDS PART TWO! With their power rings running low and no power batteries left to recharge them, the surviving heroes of the Lantern Corps join with Starfleet in the ultimate battle with Sinestro and the resurgent Klingons… until the arrival of an unexpected visitor from the Lanterns’ past changes the game entirely!

FC • 32 pages • $3.99

Bullet points:

Following the blockbuster success of last year’s Star Trek/Green Lantern, DC Entertainment and IDW once again bring you the best team-up in the galaxy!

Part of IDW’s Artist’s Edition Cover Month!

Variant cover by Jen Bartel!

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Teenage Mutant Ninja Turtles #66

Writers: Tom Waltz, Kevin Eastman Artist: Sophie Campbell Cover Artist: Sophie Campbell

Alopex is alone, her psyche reeling from Kitsune’s mind control. With Raphael and Nobody searching for her, will Alopex be able to find her way back to the side of good?

FC • 32 pages • $3.99

Bullet points:

Sophie Campbell returns to TMNT for a very special issue!

Part of IDW’s Artist’s Edition Cover Month!

Variant cover by Kevin Eastman!

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WEIRD Love #16

Writers: Richard Hughes, and more Artists: Bob Powell, Ogden Whitney, and more Cover Artist: Bob Powell

If you love your comics weird, then Weird Love is the perfect comic for you! This issue starts with the cover story by Bob Powell, “To Love A Cheat.” There are many more sordid stories this ish, but you demanded that we present another pinko-commie-cold war-comic so read it and weep: “Iron Curtain Romance!”

FC • 48 pages • $4.99

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via IDW Publishing

IDW Publishing Previews for 1-25-2017

IDW has so much great stuff on sale this week, and we have a look at all of it for you.

IDW Publishing Previews for 1-25-2017 IDW has so much great stuff on sale this week, and we have a look at all of it for you.

#comic books #comics #IDW Publishing #Preview

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theleftsidelife · 5 years ago

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Unpaid Bills Pile Up In The Wake Of President Donald Trump Rallies | All...

SEE: Ex-Fox News analyst: Trump is a danger to the US ---- https://www.youtube.com/watch?v=xEh-jF8CHEQ ---- Also see: Trump's FATHER FRED TRUMP WAS A MEMBER OF THE JOHN BIRCH SOCIETY. --- AS WERE THE KOCH BROTHERS FATHER, FRED KOCH. ---- TODAY'S CULT BEHAVIOR BEGINS WITH CULT CON-MAN JOSEPH SMITH, and CULT POSTER BOY MITT ROMNEY, (who said he LOVES Trump’s POLICIES) BRIGHAM YOUNG, and---- MISSIONARY---- MISSIONARY ---MISSIONARY---EVANGELICAL--- ... JOHN BIRCH as in the ----HATEFUL--- Neo NAZI, KKK JOHN BIRCH ----BRAINWASHING ---- SOCIETY. ------ BONE SPUR, TREASON, UNHINGED, DEMENTED, CRAZY, DUMB, IDIOT, MORON Trump IS the ANTI-CHRIST!!! ------- MOSCOW Mitch and TREASON Trump are CULT LEADERS!!! ----- DO NOT LET THESE CULT LEADERS and CULT, REPUBLICAN SENATORS ---- DESTROY---- DEMOCRACY--- IN ----AMERICA!!! ------- DEMAND ---WITNESSES--- WITNESSES --- WITNESSES at --- CULT --- Trump's ---- IMPEACHMENT, SENATE ---TRIAL!!!!! --- TREASON Trump's Republican SENATORS and SUPPORTERS have drunk the COOL AID... aka Jim Jones---- CULT -----BEHAVIOR!!! ---aka ---cyanide-laced---PUNCH---- that KILLED 900 people. --- SEE: Jim Jones was best known as the CULT leader of the Peoples Temple who led more than 900 followers in a mass suicide via cyanide-laced -----PUNCH----- known as the Jonestown Massacre. --- Reference: www.biography.com/crime-figure/jim-jones

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takenews-blog1 · 7 years ago

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Your Favourite Actors’ Most Awkward Auditions, Revealed

New Post has been published on https://takenews.net/your-favourite-actors-most-awkward-auditions-revealed/

Your Favourite Actors’ Most Awkward Auditions, Revealed

Working in Hollywood could seem glamorous, however the technique of getting there? Uh, not a lot. The street to turning into a profitable working actor is paved with loads of rejection, arduous work, and plenty of auditions… lots of which find yourself being slightly awkward. Generally, going out on a limb may help you stand out from the opposite actors auditioning in one of the simplest ways doable… and different occasions, it could completely backfire on you. These are a number of the weirdest audition tales on the market — though not all of them had the comfortable ending of getting the function. Hey, no person ever mentioned working within the leisure trade was straightforward.s

From The Lifeless Poet’s Society to Aladdin and all the pieces in between, Robin Williams had a legendary profession, however not even he was resistant to a nasty audition. In accordance with the previous Completely happy Days forged’s model of the story (following the alien episode of the present), Robin’s audition for Mork in Mork & Mindy was positively awkward. When Robin was introduced in to check out for the function, he improved the function, stood on his head, and… by some means managed to impress everybody within the room. Evidently, Robin received the function, and the remainder is historical past.

It’s inconceivable to think about anybody taking part in the function of Schmidt on New Woman, however at his audition for the present, Max Greenfield had a detailed name, because of his connection to one of many casting administrators. Awkwardly sufficient, his spouse was truly working in casting on the time at Fox, and he or she had advised him to get a job actually at some other community. Max advised The Hollywood Reporter that she was fearful it was going to be super-awkward for her coworkers to observe her husband audition, however fortuitously, he ended up scoring the job and he and his spouse received to share the identical office and have lunch collectively on a regular basis. Everyone gained that one!

For those who’ve ever learn an Emma Stone interview, you in all probability already know that she’s been into performing since she was slightly child — however she didn’t instantly grow to be a breakout star. Throughout an look on The Tonight Present Starring Jimmy Fallon, Emma revealed that when she was 12, she auditioned for All That… nevertheless it was tough from the beginning. “I didn’t know that you just needed to have characters,” Emma mentioned, including that she thought they’d give her a script or one thing to work off of. “So I made up three characters.” Who had been her characters? Emma mentioned one was a cheerleader who couldn’t spell, and one was a possessed babysitter. Yikes.

Throughout one in every of Eiiza Dushku’s worst auditions, she went slightly too out of the field for the director’s style. “I pulled a knife on a director in a single audition. I do know he didn’t like that very a lot, however I felt good about it as a result of it appeared prefer it was in tune with the character,” she mentioned. She didn’t reveal which film she auditioned for, however sadly, she additionally mentioned she misplaced the function to Natalie Portman. It’s a bummer that she didn’t get the job, however pulling a knife? Perhaps that may have labored for some administrators, nevertheless it’s fairly comprehensible that the one within the audition would suppose that was slightly a lot. Factors for creativity, although?

Whereas speaking to Leisure Weekly final yr, Invoice Skarsgard opened up about why his audition for It was one in every of his strangest — and why that unusual feeling began earlier than he even received to the audition. First, he needed to have his girlfriend assist put his clown make-up on… after which he needed to go in public. “I get into the automotive and needed to drive throughout L.A. on this clown make-up,” he mentioned. “There was one thing sort of humiliated and absurd about the entire thing. I’m an actor auditioning in Hollywood, and I’m driving with a clown face on.” To not point out the truth that he additionally needed to stroll throughout the car parking zone and follow his clown giggle whereas he was driving. Um, that’s scary.

Enjoying Noah in The Pocket book was the function that formally sealed Ryan Gosling in as everybody’s movie star crush, however because it seems, the explanation he received that function was as a result of the director, Nick Cassavetes, noticed him as something however. For those who’ve watched his audition tape on YouTube, you’ll be able to attest to his awkwardness, nevertheless it solely received worse behind the scenes. Nick invited Ryan over, and laid the information on him. “He was standing in his yard, and he checked out me and mentioned, ‘I would like you to play this function since you’re not like the opposite younger actors on the market in Hollywood. You’re not good-looking, you’re not cool, you’re only a common man who appears a bit nuts,’” Ryan mentioned. Okay. Properly, then.

When Margot Robbie auditioned for The Wolf of Wall Avenue, issues received very actual, very quick. She and Leonardo DiCaprio had been in a heated argument in the course of the audition, and Margot determined if she wished this function, she was going to should take a danger. “You’ve gotten actually 30 seconds left on this room and when you don’t do one thing spectacular nothing will ever come of it. It’s a once-in-a-lifetime probability, simply take it,’ Margot advised Harper’s Bazaar of her thought course of on the time. So she slapped Leo proper within the face, and fortuitously, it labored out. “She clinched her half in The Wolf of Wall Avenue throughout our first assembly by hauling off and giving Leonardo DiCaprio a thunderclap of a slap on the face,” director Martin Scorsese mentioned. “An improvisation that surprised us all.”

Harrison Ford as Han Solo has grow to be iconic within the Star Wars franchise, however the best way he received the job was fairly unconventional. When A New Hope was casting, they wanted extra folks to audition for Han, however George Lucas wasn’t essentially up for the man from American Graffiti taking over a task in his film. So his audition? Completely left as much as destiny. In accordance with Harrison himself, he was working as a carpenter at George’s workplace the place the casting name was being held, the 2 of them ended up assembly and growth: historical past completely occurred. By the best way, a producer named Fred Roos, who was Harrison’s pal and was engaged on Star Wars on the time, is the one who hooked him up with the job, so he’s the person to thank.

Simply in case you didn’t know, former Fairly Little Liars star Lucy Hale truly auditioned to play Anastasia Steele in Fifty Shades of Gray, and as you’ll be able to think about, that audition was simply as bizarre because it sounds. Whereas speaking to Cosmopolitan, Lucy known as it an “uncomfortable” expertise, and judging by her description of what went down, we’re inclined to agree. “It’s precisely what you thought it will be: a giant monologue however very, very sexual,” she advised the magazine. “There have been some issues that I used to be so embarrassed to be studying out loud, nevertheless it’s a type of issues the place it’s important to commit wholeheartedly otherwise you’re going to make a idiot of your self.” Sounds prefer it’s an excellent factor Dakota Johnson ended up with that gig as an alternative.

January Jones will at all times be generally known as Betty Draper from Mad Males, however in an interview with The Hollywood Reporter she admitted that her audition for Coyote Ugly years earlier didn’t fairly go as deliberate. It was her second audition ever and he or she was known as again into dance in entrance of director Jerry Bruckheimer. “They mentioned, ‘You’re going to bop to Prince’s ‘Kiss.’ You’re going to pole dance, however there isn’t a pole,’” she mentioned. “And I simply turned beet purple. It was terrible, and he mentioned one thing like, ‘Honey, you probably did an amazing studying, however you’ve received no rhythm.’ I known as my agent and mentioned, ‘I don’t need to do that anymore.’” Thankfully, January saved at it — though she did name that audition “one of many worst moments of my whole life.”

Whereas speaking to The Tonight Present in 2014, Academy Award-winning actress Brie Larson advised a narrative of her very first audition at age seven. After a yr of performing classes and prepping her monologue — a Shel Silverstein poem, thoughts you — she lastly received her shot to check out for a fish stick business, and sadly, she bombed it. “[In the audition] they got here to me they usually mentioned, ‘Brianne, what do you love to do?’” she mentioned “And I mentioned, ‘I prefer to act.’” Sadly, they had been on the lookout for a child who was prepared to be a child on digital camera (AKA somebody rather less severe) and he or she ended up leaving the audition in tears as a result of she didn’t get to do her monologue.

Today, Judi Dench is called nothing in need of a legend, nevertheless it wasn’t at all times that approach. Whereas speaking to Jimmy Fallon in 2015, she mentioned that her worst audition was when she received shut down instantly by the director. “He mentioned to me, ‘Properly, it’s been very good assembly you, however,’ he mentioned, ‘I’m sorry, however not this movie,’” she mentioned. “‘And doubtless not any movie, as you will have each single factor incorrect together with your face.’” Wow. Harsh. Sadly, Judi refused to share the identify of the director (and mentioned that she by no means has and by no means will), however we’re fairly glad that she ended up proving him incorrect with a tremendous profession.

Consider it or not, the latest Star Wars trilogy might be very completely different had an audition gone a greater approach for Eddie Redmayne. Eddie auditioned for the function of Kylo Ren in The Power Awakens, and sadly, it ended up being a really dangerous audition. “That was actually a hilarious second,” Eddie mentioned in an interview with Uproxx. “As a result of it was Nina Gold — who I’ve to thank loads as a result of she’s forged me in a number of movies — and he or she was simply sitting there and I used to be making an attempt time and again with completely different variations of my sort of ‘koohh paaaah’ voice. And after like 10 pictures she’s like, ‘You bought anything?’ I used to be like, ‘No.’” All of it labored out for one of the best, although. Who however Adam Driver might you think about in that function?

Shockingly sufficient, even the legendary Meryl Streep has had a nasty audition. When she auditioned for King Kong, her information of the Italian language helped her notice what was actually happening. In accordance with what she mentioned throughout an look on the Graham Norton Present, Meryl was auditioning for Italian producer Dino De Laurentiis when he mentioned, in Italian, “Why do you convey me this ugly factor?” to his son. Meryl knew precisely what he was saying, although, and he or she replied to him — in Italian — “I’m sorry I’m not stunning sufficient to be in King Kong.” Meryl clearly got here out on high, and now, she has that superior story to inform.

Do you know that Jake Gyllenhaal was nearly in The Lord of The Rings? The important thing phrase in that sentence is “nearly,” and we use that evenly, as a result of his audition was truly one of many worst that director Peter Jackson witnessed… all as a result of Jake didn’t notice he wanted to talk in a British accent for the function of Frodo, who he hoped to play. “I bear in mind auditioning for The Lord of the Rings and stepping into and never being advised that I wanted a British accent,” Jake advised The Hollywood Reporter. “I actually do bear in mind Peter Jackson saying to me, ‘You understand that it’s important to do that in a British accent?’ We heard again… it was actually one of many worst auditions.”

Dakota Johnson might have aced the seemingly awkward audition for Fifty Shades of Gray, however she hasn’t gained all of them. As she advised The Hollywood Reporter, as soon as she received slightly too into an audition, and her dedication to the function didn’t precisely impress the casting brokers. “I had an audition, and I received actually into it, received actually into the scene and it was actually dramatic and I took my shirt off, and then you definately didn’t have to try this,” Dakota mentioned. “After which afterwards, they had been like, ‘Uh, that was nice. That was very nice,’ and I mentioned, ‘Thanks,’ and needed to choose my shirt up off the ground and nonetheless discuss to them and put it again on. It was inappropriate. And embarrassing. It’s nonetheless embarrassing, and I’m extra embarrassed that I simply advised that story.” Uhhh, yeah, that’s fairly dangerous.

Chances are you’ll not have identified this about Blake Full of life, however when she was a child, she auditioned for the function Mara Wilson ultimately received in Mrs. Doubtfire. It was right down to the 2 of them for the function, and after Blake noticed a film starring Robin Williams the evening earlier than her audition, she was actually starstruck to learn with him the following day. Her mother tried to idiot her to get her to settle down, nevertheless it completely backfired. “So she’s like, ‘OK, Blake, this isn’t Robin Williams. That is his twin brother. Robin Williams is in Europe proper now, so that you’re going to fulfill his twin brother,’” Blake mentioned. “So I am going in there and I’m sitting there they usually’re like, ‘OK, that is Robin.’ And I mentioned, ‘You’re not his twin?’ After which I walked out of the room and he or she mentioned, ‘So how’d it go?’ And I mentioned, ‘I don’t know, he had morning breath.’ That’s how we left it. It was horrible.”

Earlier than she was identified for starring in reveals like Determined Housewives, Felicity Huffman was topic to loads of dangerous auditions herself… together with one specifically. She determined that one of the best plan of action can be to stuff her bra with bathroom paper earlier than stepping into to learn for everybody, and all the pieces went spectacularly incorrect from there. “I went in and did a horrible audition, for a film, with the director and the flowery folks within the room, and it simply laid there like a lifeless fish and I used to be like, ‘Properly, thanks a lot,’” she mentioned. “And I leaned right down to get my bag and by some means, the arm of bathroom paper — it was God’s joke — got here and went out of my costume like that. So I needed to choose up my ego and my bathroom paper and stroll out of the room.” Discuss in regards to the awkward second to finish all awkward moments!

Similar to his spouse, Ryan Reynolds has a nasty audition story of his personal. Though he didn’t specify what the audition was for, or who he was auditioning with, however the actress he was studying with intimidated him loads. A lot in order that even if he’d had his monologue memorized and able to go, all of it flew out of his head. “The flop sweat began and for some purpose my ears had been on hearth and this entire factor simply was an absolute nightmare, and I utterly shut down,” Ryan mentioned. “Like, you understand issues are dangerous when your central nervous system is quitting on you and also you’re in an audition, one thing as trivial as an audition.”

What if Equipment by no means received the job in Recreation of Thrones and by no means grew to become Jon Snow? That’s nearly what occurred after his audition for the present didn’t go like he’d deliberate. In an interview with W Journal, Equipment revealed that he’d gotten a black eye after a late-night brawl at Mc’Donalds (the place else?) defending his girlfriend. “So I went to the Jon Snow audition with a black eye, which I believe that man who punched me within the face might have helped me get the job, so thanks,” Equipment mentioned, confirming that specific audition story occurred to come back with a cheerful ending. Thankfully, the bruise labored, and Equipment was forged. The remaining is historical past!

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nofomoartworld · 7 years ago

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Hyperallergic: Documenting the Disappearance of America’s Most Toxic Ghost Town

Todd Stewart, “Chat Pile” (2008) (courtesy the artist)

Picher is often cited as the most toxic town in the United States. Yet every year, its identity as a town is eroding. A May 10, 2008 EF4 tornado wrecked more than 100 homes and killed six in its corner of northeastern Oklahoma, scattering bits of buildings and possessions at the base of the chat piles. These hills of chat, a fine gravel byproduct of lead and zinc mining, are a toxic relic of the industry that polluted the community’s earth and waters for decades in the early 20th century. Underground tunnels periodically open into gaping sinkholes. Following a mandatory evacuation and buyouts, spurred by its 1980 designation by the Environmental Protection Agency as part of the Tar Creek Superfund Site, its homes are boarded up, its mining museum is lost to arson, and its schools are abandoned.

“I first visited Picher in 2008, shortly after the tornado,” photographer Todd Stewart told Hyperallergic. “The tornado had leveled houses in a significant part of the town, leaving only building foundations and pavement still in place.”

He saw the ground strewn with personal objects, like books, photographs, toys, keepsakes, and letters. “Although most of the town’s residents had left, indications of their lives were everywhere,” he said. “I realized that this would not be the case forever. I knew that eventually this place would become a landscape with little physical evidence of what had been before.”

Todd Stewart, “Chat Pile and Tornado Debris” (August 2008) (courtesy the artist)

Installation view of Picher, Oklahoma: Catastrophe, Memory, and Trauma (photo by Michael S. Bendure/Fred Jones Jr. Museum of Art)

From 2008 to 2017, he kept returning. Last year, Stewart published his series on Picher in a monograph released by the University of Oklahoma Press. With Alison Fields, who contributed essays to the book, Stewart curated Picher, Oklahoma: Catastrophe, Memory, and Trauma, which is now on view at the Fred Jones Jr. Museum of Art at the University of Oklahoma (OU) in Norman. Stewart is an OU associate professor of art, technology, and culture, and Fields is a professor of art of the American West and associate professor of art history.

“During the next few years, each time I returned to Picher I found less and less remaining, the landscape increasingly enveloping everything left behind,” Stewart stated. “Picher was in the process of disappearing, of slipping into non-existence.”

The exhibition combines Stewart’s photographs with salvaged artifacts, such as a worn church fan decorated with an image of Jesus and a headless ceramic statue that may have once graced a mantle. It was never a huge metropolis — Picher’s boomtown population peaked in the 1920s at just over 14,000 — but it was a major contributor to American defense in both world wars, especially in the production of bullets. According to the Oklahoma Historical Society, over 50% of the lead and zinc metal used in World War I “came from the Picher Field.”

As is often the case, after the companies departed in the 1960s and ’70s, leaving the environment of the Tri-State Mining District that stretched in Kansas and Missouri depleted of its resources, the economy of the area never recovered. By 1973, contaminated water was seeping from the 1,400 mineshafts below Picher. Information about the dangers of the chat piles was slow to be shared with residents, whose children were allowed to play in sandboxes of the powdered ore, and driveways and foundations for homes were poured with the mine tailings. Time magazine reported in 2004 that over the previous decade, “up to 38% of local children have had high levels of lead in their blood.”

Todd Stewart, “Blue Boy” (courtesy the artist)

Todd Stewart, “Storefronts, Connell Avenue” (2010) (courtesy the artist)

In a 1983 article for the Oklahoman, Richard E. Meyer described one day when the acid water, tinged an ominous red, spilled out from the mines across a man’s ranch:

It washed around the ankles of his purebred Arabian horses, stained the ends of their tails and splashed against their roan-and-tan bellies when they ran. Their hides turned orange. The hair burned off their legs. They developed open sores. Not far away, water gurgled out of another hole in the ground. Then it surged from another. And another. It belched from a mine shaft and gushed out of an old cave-in. It splashed down ditches and gullies and into a stream called Tar Creek. It turned the stream blood red, and it killed the fish.

As the Tulsa World reported in 2014, a few residents linger in Picher, even after it was officially unincorporated as a town. This year, the EPA awarded almost $5 million to the Quapaw Tribe, whose territory stretches over the Superfund site, for cleanup. Still, the land is so badly scarred that it will never completely recover.

In his photography, Stewart is interested in how landscapes can be “embedded with memory and history — that personal, cultural, and historical narrative is what defines place.” Quiet photographs of weathered clothes and found snapshots contrast with eerie images of the empty streets and tornado-wrecked structures that were never rebuilt. The poisoning of Picher may seem like a local story and, indeed, remains little known on a national level. Yet the state of Oklahoma continues to practice environmentally hazardous extraction, including fracking for gas. And in the United States, the promotion of toxic industry — even if it results in the destruction of the very place it is supporting — endures.

“We seem to make the same mistakes over and over again,” Stewart said. “When I began this project, I did not realize how relevant the story would be in 2017. With the election of Donald Trump, it is clear that economic and political interests will continue to be prioritized over environmental and other societal concerns for some time to come. Picher is evidence of the consequences of such hubris, and it is important that its complicated legacy not be forgotten.”

Todd Stewart, “Tar Creek below Contamination Area” (May 2014) (courtesy the artist)

Todd Stewart, “Sinkhole” (May 2014) (courtesy the artist)

Todd Stewart, “House Destroyed by Tornado” (June 2008) (courtesy the artist)

Todd Stewart, “Cardboard Fan, Front” (courtesy the artist)

Todd Stewart, “Connell Avenue” (January 2008) (courtesy the artist)

Todd Stewart, “Postcards” (courtesy the artist)

Todd Stewart, “Lytle Creek” (2008) (courtesy the artist)

Installation view of Picher, Oklahoma: Catastrophe, Memory, and Trauma (photo by Michael S. Bendure/Fred Jones Jr. Museum of Art)

Picher, Oklahoma: Catastrophe, Memory, and Trauma continues through September 10 at the Fred Jones Jr. Museum of Art (University of Oklahoma, 555 Elm Avenue, Norman, Oklahoma).

The post Documenting the Disappearance of America’s Most Toxic Ghost Town appeared first on Hyperallergic.

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mavwrekmarketing · 8 years ago

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It was musics biggest night as the Recording Academy honored the best the industry has to offer at the 59th annual Grammy Awards.

The competition this year was fierce to say the least, but Adele was the clear winner of the night. The British singer took home five awards, including Album of the Year, Record of the Year and Song of the Year. David Bowie posthumously won five awards, including Best Rock Album andBeyoncwon two awards as well.

While all the big names were nominated, Justin Bieber,Drake and Kanye West are decided toskip the awards.

Sunday nights show also featured animpressive lineup of performers including Adele, Beyonc, John Legend, Bruno Mars, Metallica and Lady Gaga. Additionally, Maren Morris performed with Alicia Keys,Anderson Paak joined A Tribe Called Quest and Dave Grohl onstage, and The Weeknd teamed up with Daft Punk.

Check out the full list of 2017 Grammy winners:

Album Of The Year: 25 Adele Lemonade Beyonc Purpose Justin Bieber Views Drake A Sailors Guide To Earth Sturgill Simpson

Song Of The Year: Formation Khalif Brown, Asheton Hogan, Beyonc Knowles, Michael L. Williams II, songwriters (Beyonc) Hello Adele Adkins & Greg Kurstin, songwriters (Adele) I Took A Pill In Ibiza Mike Posner, songwriter (Mike Posner) Love Yourself Justin Bieber, Benjamin Levin, Ed Sheeran, songwriters (Justin Bieber) 7 Years Lukas Forchhammer, Stefan Forrest, Morten &Morten Ristorp, songwriters (Lukas Graham)

Record of the Year: HelloAdele Formation Beyonc 7 Years Lukas Graham Work Rihanna Featuring Drake Stressed Out Twenty One Pilots

Best New Artist: Kelsea Ballerini The Chainsmokers Chance The Rapper Maren Morris Anderson .Paak

Best Pop Solo Performance: Hello Adele Hold Up Beyonc Love Yourself Justin Bieber Piece By Piece (Idol Version) Kelly Clarkson Dangerous Woman Ariana Grande

Best Pop Duo/Group Performance: Closer The Chainsmokers Featuring Halsey 7 Years Lukas Graham WorkRihanna Featuring Drake Cheap ThrillsSia Featuring Sean Paul Stressed Out Twenty One Pilots

Best Traditional Pop Vocal Album: Cinema Andrea Bocelli Fallen Angels Bob Dylan Stages Live Josh Groban Summertime: Willie Nelson Sings Gershwin Willie Nelson Encore: Movie Partners Sing Broadway

Best Pop Vocal Album: 25 Adele Purpose Justin Bieber Dangerous Woman Ariana Grande Confident Demi Lovato This Is Acting Sia

Best Dance Recording: Tearing Me Up Bob Moses Dont Let Me Down The Chainsmokers Featuring Daya Never Be Like You Flume Featuring Kai Rinse & Repeat Riton Featuring Kah-Lo Drinkee Sofi Tukker

Best Dance/Electronic Album: Skin Flume Electronica 1: The Time Machine Jean-Michel Jarre Epoch Tycho Barbara Barbara, We Face A Shining Future Underworld Louie Vega StarringXXVIII Louie Vega

Best Contemporary Instrumental Album: Human Nature Herb Alpert When You Wish Upon A Star Bill Frisell Way Back Home Live From Rochester, NYSteve Gadd Band Unspoken Chuck Loeb Culcha Vulcha Snarky Puppy

Best Rock Performance: Joe (Live From Austin City Limits) Alabama Shakes Dont Hurt Yourself Beyonc Featuring Jack White Blackstar David Bowie The Sound Of Silence (Live On Conan) Disturbed Heathens Twenty One Pilots

Best Metal Performance: Shock Me Baroness Silvera Gojira Rotting In Vain Korn Dystopia Megadeth The Price Is Wrong Periphery

Best Rock Song: Blackstar David Bowie, songwriter (David Bowie) Burn The Witch Radiohead, songwriters (Radiohead) HardwiredJames Hetfield &Lars Ulrich, songwriters (Metallica) HeathensTyler Joseph, songwriter (Twenty One Pilots) My Name Is Human Rich Meyer, Ryan Meyer & Johnny Stevens, songwriters (Highly Suspect)

Best Rock Album: California Blink-182 Tell Me Im Pretty Cage The Elephant Magma Gojira Death Of A Bachelor Panic! At The Disco Weezer Weezer

Best Alternative Music Album: 22, A Million Bon Iver BlackstarDavid Bowie The Hope Six Demolition Project PJ Harvey Post Pop Depression Iggy Pop A Moon Shaped PoolRadiohead

Best R&B Performance: Turnin Me Up BJ The Chicago Kid PermissionRo James I DoMusiq Soulchild Needed Me Rihanna Cranes In The SkySolange

Best Traditional R&B Performance: The Three Of Me William Bell Womans World BJ The Chicago Kid Sleeping With The One I Love Fantasia Angel Lalah Hathaway Cant Wait Jill Scott

Best R&B Song: Come See Me J. Brathwaite, Aubrey Graham &Noah Shebib, songwriters (PartyNextDoor Featuring Drake) Exchange Michael Hernandez & Bryson Tiller, songwriters (Bryson Tiller) Kiss It BetterJeff Bhasker, Robyn Fenty, John-Nathan Glass & Natalia Noemi, songwriters (Rihanna) Lake By The Ocean Hod David & Musze, songwriters (Maxwell) LuvMagnus August Hiberg, Benjamin Levin & Daystar Peterson, songwriters (Tory Lanez)

Best Urban Contemporary Album: Lemonade Beyonc Ology Gallant We Are King KING Malibu Anderson .Paak Anti Rihanna

Best R&B Album: In My Mind BJ The Chicago Kid Lalah Hathaway Live Lalah Hathaway Velvet Portraits Terrace Martin Healing Season Mint Condition Smoove Jones Mya

Best Rap/Sung Performance: Freedom Beyonc Featuring Kendrick Lamar Hotline Bling Drake BroccoliD.R.A.M. Featuring Lil Yachty Ultralight BeamKanye West Featuring Chance The Rapper, Kelly Price, Kirk Franklin&The-Dream FamousKanye West Featuring Rihanna

Best Rap Song: All The Way Up Joseph Cartagena, Edward Davadi, Shandel Green, Karim Kharbouch, Andre Christopher Lyon, Reminisce Mackie & Marcello Valenzano, songwriters (Fat Joe & Remy Ma Featuring French Montana & Infared) Famous Chancelor Bennett, Ross Birchard, Ernest Brown, Andrew Dawson, Kasseem Dean, Mike Dean, Noah Goldstein, Kejuan Muchita, Patrick Reynolds, Kanye West & Cydel Young, songwriters (Kanye West Featuring Rihanna) Hotline Bling Aubrey Graham & Paul Jefferies, songwriters (Drake) No Problem Chancelor Bennett, Dwayne Carter &Tauheed Epps, songwriters (Chance The Rapper Featuring Lil Wayne & 2 Chainz) Ultralight Beam Chancelor Bennett, Kasseem Dean, Mike Dean, Kirk Franklin, Noah Goldstein, Samuel Griesemer, Terius Nash, Jerome Potter, Kelly Price, Nico Donnie Trumpet Segal, Derek Watkins, Kanye West & Cydel Young, songwriters (Kanye West Featuring Chance The Rapper, Kelly Price, Kirk Franklin & The-Dream)

Best Rap Album: Coloring Book Chance The Rapper And The Anonymous Nobody De La Soul Major Key DJ Khaled Views Drake Blank Face LP ScHoolboy Q The Life Of Pablo Kanye West

Best Country Solo Performance: Love Can Go To Hell Brandy Clark Vice Miranda Lambert My Church Maren Morris Church Bells Carrie Underwood Blue Aint Your Color Keith Urban

Best Country Duo/Group Performance: Different For Girls Dierks Bentley Featuring Elle King 21 SummerBrothers Osborne Setting The World On FireKenny Chesney & P!nk Jolene Pentatonix Featuring Dolly Parton Think Of You Chris Young With Cassadee Pope

Best Country Song: Blue Aint Your Color Clint Lagerberg, Hillary Lindsey & Steven Lee Olsen, songwriters (Keith Urban) Die A Happy ManSean Douglas, Thomas Rhett & Joe Spargur, songwriters (Thomas Rhett) Humble And KindLori McKenna, songwriter (Tim McGraw) My Church busbee & Maren Morris, songwriters (Maren Morris) ViceMiranda Lambert, Shane McAnally & Josh Osborne, songwriters (Miranda Lambert)

Best Country Album: Big Day In A Small Town Brandy Clark Full Circle Loretta Lynn Hero Maren Morris A Sailors Guide To Earth Sturgill Simpson Ripcord Keith Urban

Best New Age Album: Orogen John Burke Dark Sky Island Enya Inner Passion Peter Kater & Tina Guo Rosetta Vangelis White Sun II White Sun

Best Improvised Jazz Solo: Countdown Joey Alexander, soloist In Movement Ravi Coltrane, soloist We SeeFred Hersch, soloist I Concentrate On You Brad Mehldau, soloist Im So Lonesome I Could Cry John Scofield, soloist

Best Jazz Vocal Album: Sound Of Red Ren Marie Upward Spiral Branford Marsalis Quartet With Special Guest Kurt Elling Take Me To The Alley Gregory Porter Harlem On My Mind Catherine Russell The Sting Variations The Tierney Sutton Band

Best Jazz Instrumental Album: Book Of Intuition Kenny Barron Trio Dr. Um Peter Erskine Sunday Night At The Vanguard The Fred Hersch Trio Nearness Joshua Redman & Brad Mehldau Country For Old Men John Scofield

Best Large Jazz Ensemble Album: Real Enemies Darcy James Argues Secret Society Presents Monkestra, Vol. 1 John Beasley Kaleidoscope Eyes: Music Of The Beatles John Daversa All L.A. Band Bob Mintzer Presidential Suite: Eight Variations On Freedom Ted Nash Big Band

Best Latin Jazz Album Entre Colegas Andy Gonzlez Madera Latino: A Latin Jazz Perspective On The Music Of Woody Shaw Brian Lynch & Various Artists Canto Amrica Michael Spiro/Wayne Wallace La Orquesta Sinfonietta 30 Trio Da Paz Tribute To Irakere: Live In Marciac Chucho Valds

Best Gospel Performance/Song: Its Alright, Its Ok Shirley Caesar Featuring Anthony Hamilton Youre Bigger [Live] Jekalyn Carr Made A Way [Live] Travis Greene God ProvidesTamela Mann BetterHezekiah Walker

Best Contemporary Christian Music Performance/Song Trust In YouLauren Daigle PricelessFor King & Country King Of The World Natalie Grant Thy WillHillary Scott & The Scott Family Chain Breaker Zach Williams

Best Gospel Album: Listen Tim Bowman Jr. Fill This House Shirley Caesar A Worshippers Heart [Live] Todd Dulaney Losing My Religion Kirk Franklin Demonstrate [Live]William Murphy

Best Contemporary Christian Music Album: Poets & SaintsAll Sons & Daughters American ProdigalCrowder Be OneNatalie Grant Youth Revival [Live] Hillsong Young & Free Love Remains Hillary Scott &The Scott Family

Best Roots Gospel Album: Better Together Gaither Vocal Band Natures Symphony In 432 The Isaacs Hymns Joey+Rory Hymns And Songs Of Inspiration Gordon Mote God Dont Never Change: The Songs Of Blind Willie Johnson (Various Artists)

Best Latin Pop Album: Un Besito Mas Jesse & Joy Ilusin Gaby Moreno SimilaresLaura Pausini Seguir Latiendo Sanalejo Buena Vida Diego Torres

Best Latin Rock, Urban or Alternative Album: ilevitableile L.H.O.N. (La Humanidad O Nosotros) Illya Kuryaki & The Valderamas Buenaventura La Santa Cecilia Los RakasLos Rakas Amor Supremo Carla Morrison

Best Regional Mexican Music Album (Including Tejano): Races Banda El Recodo De Cruz Lizrraga Hecho A Mano Joss Favela Un Azteca En El Azteca, Vol. 1 (En Vivo) Vicente Fernndez Generacin Maquinaria Est. 2006. La Maquinaria Nortea Tributo A Joan Sebastian Y Rigoberto Alfaro Mariachi Divas De Cindy Shea

Best Tropical Latin Album: Conexin Fonseca La Fantasia Homenaje A Juan Formell Formell Y Los Van Van 35 Aniversario Grupo Niche La Sonora Santanera En Su 60 Aniversario La Sonora Santanera Donde Estn? Jose Lugo & Guasbara Combo

Best American Roots Performance: Aint No Man The Avett Brothers Mothers Children Have A Hard Time Blind Boys Of Alabama Factory Girl Rhiannon Giddens House Of Mercy Sarah Jarosz Wreck YouLori McKenna

Best American Roots Song: Alabama At Night Robbie Fulks City Lights Jack White Gulfstream Roddie Romero And The Hub City All-Stars Kid Sister The Time Jumpers Wreck You Lori McKenna

Best Americana Album: True Sadness The Avett Brothers This Is Where I Live William Bell The Cedar Creek Sessions Kris Kristofferson The Bird & The Rifle Lori McKenna Kid Sister The Time Jumpers

Best Bluegrass Album: Original Traditional Blue Highway Burden Bearer Doyle Lawson & Quicksilver The Hazel And Alice Sessions Laurie Lewis & The Right Hands North By South Claire Lynch Coming Home OConnor Band With Mark OConnor

Best Traditional Blues Album: Cant Shake This Feeling Lurrie Bell Live At The Greek Theatre Joe Bonamassa Blues & Ballads Luther Dickinson The Soul Of Jimmie Rodgers Vasti Jackson Porcupine Meat Bobby Rush

Best Contemporary Blues Album: The Last Days Of Oakland Fantastic Negrito Love Wins Again Janiva Magness Bloodline Kenny Neal Give It Back To You The Record Company Everybody Wants A Piece Joe Louis Walker

Best Folk Album: Silver Skies Blue Judy Collins & Ari Hest Upland Stories Robbie Fulks Factory Girl Rhiannon Giddens Weighted Mind Sierra Hull Undercurrent Sarah Jarosz

Best Regional Roots Music Album: Broken Promised Land Barry Jean Ancelet & Sam Broussard Its A Cree Thing Northern Cree E Walea Kalani Pea Gulfstream Roddie Romero And The Hub City All-Stars I Wanna Sing Right: Rediscovering Lomax In The Evangeline Country (Various Artists)

Best Reggae Album: Sly & Robbie Presents Reggae For Her Devin Di Dakta & J.L Rose Petals J Boog Ziggy Marley Ziggy Marley Everlasting Raging Fyah Falling Into Place Rebelution SOJA: Live In Virginia SOJA

Best World Music Album: Destiny Celtic Woman Walking In The Footsteps Of Our Fathers Ladysmith Black Mambazo Sing Me Home Yo-Yo Ma & The Silk Road Ensemble Land Of Gold Anoushka Shankar Dois Amigos, Um Sculo De Msica: Multishow Live Caetano Veloso & Gilberto Gil

Best Childrens Album: Explorer Of The World Frances England Infinity Plus One Secret Agent 23 Skidoo Novelties Recess Monkey Press Play Brady Rymer And The Little Band That Could Saddle Up The Okee Dokee Brothers

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling): The Girl With The Lower Back Tattoo Amy Schumer In Such Good Company: Eleven Years Of Laughter, Mayhem, And Fun In The Sandbox Carol Burnett M Train Patti Smith Under The Big Black Sun: A Personal History Of L.A. Punk (John Doe With Tom Desavia) (Various Artists) Unfaithful Music & Disappearing Ink Elvis Costello

Best Comedy Album: AmericaGreat David Cross American Myth Margaret Cho Boyish Girl Interrupted Tig Notaro Live At The Apollo Amy Schumer Talking For Clapping Patton Oswalt

Best Musical Theater Album: Bright Star Carmen Cusack, principal soloist; Jay Alix, Peter Asher & Una mJackman, producers; Steve Martin, composer; Edie Brickell, composer &lyricist (Original Broadway Cast) The Color Purple Danielle Brooks, Cynthia Erivo & Jennifer Hudson, principal soloists; Stephen Bray, Van Dean, Frank Filipetti, Roy Furman, Scott Sanders & Jhett Tolentino, producers (Stephen Bray, Brenda Russell &Allee Willis, composers/lyricists) (New Broadway Cast) Fiddler On The Roof Danny Burstein, principal soloist; Louise Gund, David Lai & Ted Sperling, producers (Jerry Bock, composer; Sheldon Harnick, lyricist) (2016 Broadway Cast) Kinky Boots Killian Donnelly & Matt Henry, principal soloists; Sammy James, Jr., Cyndi Lauper, Stephen Oremus & William Wittman, producers (Cyndi Lauper, composer & lyricist) (Original West End Cast) Waitress Jessie Mueller, principal soloist; Neal Avron, Sara Bareilles & Nadia DiGiallonardo, producers; Sara Bareilles, composer & lyricist

Best Compilation Soundtrack For Visual Media: Amy (Various Artists) Miles Ahead (Miles Davis & Various Artists) Straight Outta Compton (Various Artists) Suicide Squad (Collectors Edition) (Various Artists) Vinyl: The Essentials Season 1 (Various Artists)

Best Score Soundtrack For Visual Media: Bridge Of Spies Thomas Newman, composer Quentin Tarantinos The Hateful Eight Ennio Morricone, composer The Revenant Alva Noto & Ryuichi Sakamoto, composers Star Wars: The Force Awakens John Williams, composer Stranger Things Volume 1 Kyle Dixon & Michael Stein, composers Stranger Things Volume 2 Kyle Dixon & Michael Stein, composers

Best Song Written For Visual Media: Cant Stop The Feeling! Max Martin, Shellback & Justin Timberlake, songwriters (Justin Timberlake, Anna Kendrick, Gwen Stefani, James Corden, Zooey Deschanel) Heathens Tyler Joseph, songwriter (Twenty One Pilots) Just Like FireOscar Holter, Max Martin, P!nk & Shellback, songwriters (P!nk) Purple Lamborghini Shamann Cooke, Sonny Moore & William Roberts, songwriters (Skrillex &Rick Ross) Try Everything Mikkel S. Eriksen, Sia Furler & Tor Erik Hermansen, songwriters (Shakira) The Veil Peter Gabriel, songwriter (Peter Gabriel)

Best Instrumental Composition: Bridge Of Spies (End Title) Thomas Newman, composer (Thomas Newman) The Expensive Train Set (An Epic Sarahnade For Double Big Band) Tim Davies, composer (Tim Davies Big Band) FlowAlan Ferber, composer (Alan Ferber Nonet) LUltima Diligenza Di Red Rock Versione Integrale Ennio Morricone, composer (Ennio Morricone) Spoken At Midnight Ted Nash, composer (Ted Nash Big Band)

Best Arrangement, Instrumental or A Cappella: Ask Me Now John Beasley, arranger (John Beasley) Good Swing WenceslasSammy Nestico, arranger (The Count Basie Orchestra) Linus & Lucy Christian Jacob, arranger (The Phil Norman Tentet) Lucy In The Sky With Diamonds John Daversa, arranger (John Daversa) We Three KingsTed Nash, arranger (Jazz At Lincoln Center Orchestra With Wynton Marsalis) You And IJacob Collier, arranger (Jacob Collier)

Best Arrangement, Instruments and Vocals: Do You Hear What I Hear? Gordon Goodwin, arranger (Gordon Goodwins Big Phat Band Featuring Take 6) Do You Want To Know A Secret John Daversa, arranger (John Daversa Featuring Renee Olstead) Flintstones Jacob Collier, arranger (Jacob Collier) Im A Fool To Want You Alan Broadbent, arranger (Kristin Chenoweth) Somewhere (Dirty Blvd) (Extended Version) Billy Childs & Larry Klein, arrangers (Lang Lang Featuring Lisa Fischer & Jeffrey Wright)

Best Recording Package: AntiCiarra Pardo & Robyn Fenty, art directors (Rihanna) Blackstar Jonathan Barnbrook, art director (David Bowie) Human Performance Andrew Savage, art director (Parquet Courts) Sunset Motel Sarah Dodds & Shauna Dodds, art directors (Reckless Kelly) 22, A Million Eric Timothy Carlson, art director (Bon Iver)

Best Boxed Or Special Limited Edition Package: Edith Piaf 1915-2015 Grard Lo Monaco, art director (Edith Piaf) 401 Days Jonathan Dagan & Mathias Hst Normark, art directors (J.Views) I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It (Box Set) Samuel Burgess-Johnson & Matthew Healy, art directors (The 1975) Paper Wheels (Deluxe Limited Edition) Matt Taylor, art director (Trey Anastasio) Tug Of War (Deluxe Edition) Simon Earith & James Musgrave, art directors (Paul McCartney)

Best Album Notes: The Complete Monument & Columbia Albums Collection Mikal Gilmore, album notes writer (Kris Kristofferson) The Knoxville Sessions, 1929-1930: Knox County Stomp Ted Olson & Tony Russell, album notes writers (Various Artists) Ork Records: New York, New York Rob Sevier & Ken Shipley, album notes writers (Various Artists) Sissle And Blake Sing Shuffle Along Ken Bloom & Richard Carlin, album notes writers (Eubie Blake &Noble Sissle) Waxing The Gospel: Mass Evangelism & The Phonograph, 1890-1900 Richard Martin, album notes writer (Various Artists)

Best Historical Album: The Cutting Edge 1965-1966: The Bootleg Series, Vol.12 (Collectors Edition) Steve Berkowitz & Jeff Rosen, compilation producers; Mark Wilder, mastering engineer (Bob Dylan) Music Of Morocco From The Library Of Congress: Recorded By Paul Bowles, 1959 April G. Ledbetter, Steven Lance Ledbetter, Bill Nowlin & Philip D. Schuyler, compilation producers; Rick Fisher & Michael Graves, mastering engineers (Various Artists) Ork Records: New York, New York Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton & Maria Rice, mastering engineers (Various Artists) Vladimir Horowitz: The Unreleased Live Recordings 1966-1983 Bernard Horowitz, Andreas K. Meyer &Robert Russ, compilation producers; Andreas K. Meyer & Jeanne Montalvo, mastering engineers (Vladimir Horowitz) Waxing The Gospel: Mass Evangelism & The Phonograph, 1890-1900 Michael Devecka, Meagan Hennessey & Richard Martin, compilation producers; Michael Devecka, David Giovannoni, Michael Khanchalian & Richard Martin, mastering engineers (Various Artists)

Best Engineered Album, Non-Classical: Are You Serious Tchad Blake & David Boucher, engineers; Bob Ludwig, mastering engineer (Andrew Bird) Blackstar David Bowie, Tom Elmhirst, Kevin Killen & Tony Visconti, engineers; Joe LaPorta, mastering engineer (David Bowie) Dig In Deep Ryan Freeland, engineer; Kim Rosen, mastering engineer (Bonnie Raitt) Hit N Run Phase Two Booker T., Dylan Dresdow, Chris James, Prince & Justin Stanley, engineers; Dylan Dresdow, mastering engineer (Prince) Undercurrent Shani Gandhi & Gary Paczosa, engineers; Paul Blakemore, mastering engineer (Sarah Jarosz)

Producer Of The Year, Non-Classical: Benny Blanco Greg Kurstin Max Martin Nineteen85 Ricky Reed

Best Remixed Recording, Non-Classical: Cali Coast (Psionics Remix) Josh Williams, remixer (Soul Pacific) Heavy Star Movin (staRo Remix) staRo, remixer (The Silver Lake Chorus) Nineteen Hundred Eighty-Five (Timo Maas & James Teej Remix) Timo Maas & James Teej, remixers (Paul McCartney & Wings) Only (Kaskade x Lipless Remix) Ryan Raddon, remixer (Ry X) Tearing Me Up (RAC Remix) Andr Allen Anjos, remixer (Bob Moses) Wide Open (Joe Goddard Remix) Joe Goddard, remixer (The Chemical Brothers)

Best Surround Sound Album: Dutilleux: Sur Le Mme Accord; Les Citations; Mystre De Linstant & Timbres, Espace, Mouvement Alexander Lipay & Dmitriy Lipay, surround mix engineers; Dmitriy Lipay, surround mastering engineer; Dmitriy Lipay, surround producer (Ludovic Morlot & Seattle Symphony) Johnson: Considering Matthew Shepard Brad Michel, surround mix engineer; Brad Michel, surround mastering engineer; Robina G. Young, surround producer (Craig Hella Johnson & Conspirare) Maja S.K. Ratkje: And Sing Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Maja S.K. Ratkje, Cikada & Oslo Sinfonietta) Primus & The Chocolate Factory (5.1 Surround Sound Edition) Les Claypool, surround mix engineer; Stephen Marcussen, surround mastering engineer; Les Claypool, surround producer (Primus) Reflections Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (yvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)

Best Engineered Album, Classical: Corigliano: The Ghosts Of Versailles Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra) Dutilleux: Sur Le Mme Accord; Les Citations; Mystre De LInstant & Timbres, Espace, Mouvement Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot & Seattle Symphony) Reflections Morten Lindberg, engineer (yvind Gimse, Geir Inge Lotsberg & Trondheimsolistene) Shadow Of Sirius Silas Brown & David Frost, engineers; Silas Brown, mastering engineer (Jerry F. Junkin & The University Of Texas Wind Ensemble) Shostakovich: Under Stalins Shadow Symphonies Nos. 5, 8 & 9 Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

Producer Of The Year, Classical: Blanton Alspaugh David Frost Marina A. Ledin, Victor Ledin Judith Sherman Robina G. Young

Best Orchestral Performance: Bates: Works For Orchestra Michael Tilson Thomas, conductor (San Francisco Symphony) Ibert: Orchestral Works Neeme Jrvi, conductor (Orchestre De La Suisse Romande) Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100 Mariss Jansons, conductor (Royal Concertgebouw Orchestra) Rouse: Odna Zhizn; Symphonies 3 & 4; Prosperos Rooms Alan Gilbert, conductor (New York Philharmonic) Shostakovich: Under Stalins Shadow Symphonies Nos. 5, 8 & 9 Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording: Corigliano: The Ghosts Of Versailles James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus) Handel: Giulio Cesare Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico) Higdon: Cold Mountain Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program For Singers) Mozart: Le Nozze Di Figaro Yannick Nzet-Sguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra Of Europe; Vocalensemble Rastatt) Szymanowski: Krl Roger Antonio Pappano, conductor; Georgia Jarman, Mariusz Kwiecie & Saimir Pirgu; Jonathan Allen, producer (Orchestra Of The Royal Opera House; Royal Opera Chorus)

Best Choral Performance: Himmelrand Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble) Janek: Glagolitic Mass Edward Gardner, conductor; Hkon Matti Skrede, chorus master (Susan Bickley, Gbor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir Of Collegium Musicum & Edvard Grieg Kor) Lloyd: Bonhoeffer Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; The Crossing) Penderecki Conducts Penderecki, Volume 1 Krzysztof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir) Steinberg: Passion Week Steven Fox, conductor (The Clarion Choir)

Best Chamber Music/Small Ensemble Performance: Fitelberg: Chamber Works ARC Ensemble Reflections yvind Gimse, Geir Inge Lotsberg & Trondheimsolistene Serious Business Spektral Quartet Steve Reich Third Coast Percussion Trios From Our Homelands Lincoln Trio

Best Classical Instrumental Solo: Adams, J.: Scheherazade.2 Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony) Daugherty: Tales Of Hemingway Zuill Bailey; Giancarlo Guerrero, conductor (Nashville Symphony) Track from: Daugherty: Tales Of Hemingway; American Gothic; Once Upon A Castle Dvok: Violin Concerto & Romance; Suk: Fantasy Christian Tetzlaff; John Storgrds, conductor (Helsinki Philharmonic Orchestra) Mozart: Keyboard Music, Vols. 8 & 9 Kristian Bezuidenhout 1930s Violin Concertos, Vol. 2 Gil Shaham; Stphane Denve, conductor (The Knights & Stuttgart Radio Symphony Orchestra)

Best Classical Solo Vocal Album: Monteverdi Magdalena Koen; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel) Mozart: The Weber Sisters Sabine Devieilhe; Raphal Pichon, conductor (Pygmalion) Schumann & Berg Dorothea Rschmann; Mitsuko Uchida, accompanist (TIE) Shakespeare Songs Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker) (TIE) Verismo Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro DellAccademia Nazionale Di Santa Cecilia; Orchestra Dell Accademia Nazionale Di Santa Cecilia)

Best Classical Compendium: Daugherty: Tales Of Hemingway; American Gothic; Once Upon A Castle Giancarlo Guerrero, conductor; Tim Handley, producer Gesualdo Tnu Kaljuste, conductor; Manfred Eicher, producer Vaughan Williams: Discoveries Martyn Brabbins, conductor; Andrew Walton, producer Wolfgang: Passing Through Judith Farmer & Gernot Wolfgang, producers; (Various Artists) Zappa: 200 Motels The Suites Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers

Best Contemporary Classical Composition: Bates: Anthology Of Fantastic Zoology Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra) Daugherty: Tales Of Hemingway Michael Daugherty, composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony) Higdon: Cold Mountain Jennifer Higdon, composer; Gene Scheer, librettist (Miguel Harth- Bedoya, Jay Hunter Morris, Emily Fons, Isabel Leonard, Nathan Gunn & The Santa Fe Opera) Theofanidis: Bassoon Concerto Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky &Northwest Sinfonia) Winger: Conversations With Nijinsky C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra)

Best Music Video: Formation Beyonc River Leon Bridges Up & Up Coldplay Gosh Jamie XX Upside Down& Inside Out OK Go

Best Music Film: Ill Sleep When Im Dead Steve Aoki The Beatles: Eight Days A Week The Touring Years (The Beatles) Lemonade Beyonc The Music Of Strangers Yo-Yo Ma & The Silk Road Ensemble American Saturday Night: Live From The Grand Ole Opry (Various Artists)

Best Rap Performance

No Problem Chance The Rapper Panda Desiigner Pop Style Drake Featuring The Throne (Jay Z, Kanye West) All The Way Up Fat Joe & Remy Ma Featuring French Montana & Infared That Part ScHoolboy Q Featuring Kanye West

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Οι μεγάλοι νικητές των Grammys 2017 | Adele και David Bowie κέρδισαν τα περισσότερα!

Πραγματοποιήθηκε η 59η απονομή των βραβείων Grammy που έλαβε χώρα στο Staples Center στο Λος Άντζελες. Την παρουσίαση της λαμπερής βραδιάς παρουσίασε για πρώτη φορά ο James Corden.

Μεγάλοι νικητές αναδείχθηκαν η Adele και ο David Bowie ενώ αξίζει να επισημάνουμε πως τις περισσότερες υποψηφιότητες είχε η Beyonce.

Πάμε να δούμε αναλυτικά τους νικητές:

Album Of The Year:

WINNER: 25 — Adele Lemonade — Beyoncé Purpose — Justin Bieber Views — Drake A Sailor’s Guide To Earth — Sturgill Simpson

Record Of The Year:

WINNER: “Hello” — Adele “Formation” — Beyoncé “7 Years” — Lukas Graham “Work” — Rihanna Featuring Drake “Stressed Out” — Twenty One Pilots

Song Of The Year:

“Formation” — Khalif Brown, Asheton Hogan, Beyoncé Knowles & Michael L. Williams II, songwriters (Beyoncé) WINNER: “Hello” — Adele Adkins & Greg Kurstin, songwriters (Adele) “I Took A Pill In Ibiza” — Mike Posner, songwriter (Mike Posner) “Love Yourself” — Justin Bieber, Benjamin Levin & Ed Sheeran, songwriters (Justin Bieber) “7 Years” — Lukas Forchhammer, Stefan Forrest, Morten Pilegaard & Morten Ristorp, songwriters (Lukas Graham)

Best New Artist:

Kelsea Ballerini The Chainsmokers WINNER: Chance The Rapper Maren Morris Anderson .Paak

POP

Best Pop Duo/Group Performance:

“Closer” — The Chainsmokers Featuring Halsey “7 Years” — Lukas Graham “Work” — Rihanna Featuring Drake “Cheap Thrills” — Sia Featuring Sean Paul WINNER: “Stressed Out” — Twenty One Pilots

Best Pop Vocal Album:

WINNER: 25 — Adele Purpose — Justin Bieber Dangerous Woman — Ariana Grande Confident — Demi Lovato This Is Acting — Sia

Best Pop Solo Performance:

WINNER: “Hello” — Adele “Hold Up” — Beyonce “Love Yourself” — Justin Bieber “Piece By Piece (Idol Version)” — Kelly Clarkson “Dangerous Woman” — Ariana Grande

Best Traditional Pop Vocal Album:

Cinema — Andrea Bocelli Fallen Angels — Bob Dylan Stages Live — Josh Groban WINNER: Summertime: Willie Nelson Sings Gershwin — Willie Nelson Encore: Movie Partners Sing Broadway — Barbra Streisand

DANCE/ELECTRONIC MUSIC FIELD

Best Dance Recording:

“Tearing Me Up” — Bob Moses WINNER: “Don’t Let Me Down” — The Chainsmokers featuring Daya “Never Be Like You” — Flume featuring Kai “Rinse & Repeat” — Riton featuring Kah-Lo “Drinkee” — Sofi Tukker

Best Dance/Electronic Album:

WINNER: Skin — Flume Electronica 1: The Time Machine — Jean-Michel Jarre Epoch — Tycho Barbara Barbara, We Face A Shining Future — Underworld Louie Vega Starring…XXVIII — Louie Vega

CONTEMPORARY INSTRUMENTAL MUSIC FIELD

Best Contemporary Instrumental Album:

Human Nature — Herb Alpert When You Wish Upon a Star — Bill Frisell Way Back Home: Live From Rochester, NY — Steve Gadd Band Unpsoken — Chuck Loeb WINNER: Culcha Vulcha — Snarky Puppy

ROCK

Best Rock Song:

WINNER: “Blackstar” — David Bowie, songwriter (David Bowie) “Burn the Witch” —Radiohead, songwriters (Radiohead) “Hardwired” — James Hetfield & Lars Ulrich, songwriters (Metallica) “Heathens” — Tyler Joseph, songwriter (Twenty One Pilots) “My Name Is Human” — Rich Meyer, Ryan Meyer & Johnny Stevens, songwriters (Highly Suspect)

Best Rock Performance:

“Joe (Live From Austin City Limits)” — Alabama Shakes “Don’t Hurt Yourself” — Beyoncé Featuring Jack White WINNER: “Blackstar” — David Bowie “The Sound Of Silence” — Disturbed “Heathens” — Twenty One Pilots

Best Metal Performance:

“Shock Me” — Baroness “Slivera” — Gojira “Rotting in Vain” — Korn WINNER: “Dystopia” — Megadeth “The Price Is Wrong” — Periphery

Best Rock Album:

California — Blink-182 WINNER: Tell Me I’m Pretty — Cage The Elephant Magma — Gojira Death Of A Bachelor — Panic! At The Disco Weezer — Weezer

ALTERNATIVE

Best Alternative Music Album:

22, A Million — Bon Iver WINNER: Blackstar — David Bowie The Hope Six Demolition Project — PJ Harvey Post Pop Depression — Iggy Pop A Moon Shaped Pool — Radiohead

R&B

Best Urban Contemporary Album:

WINNER: Lemonade — Beyoncé Ology — Gallant We Are King — KING Malibu — Anderson .Paak Anti — Rihanna

Best R&B Performance:

“Turnin’ Me Up” — BJ The Chicago Kid “Permission” — Ro James “I Do” — Musiq Soulchild “Needed Me” — Rihanna WINNER: “Cranes in the Sky” — Solange

Best Traditional R&B Performance:

“The Three Of Me” — William Bell “Woman’s World” — BJ The Chicago Kid “Sleeping With The One I Love” — Fantasia WINNER: “Angel” — Lalah Hathaway “Can’t Wait” — Jill Scott

Best R&B Song:

“Come and See Me” — J. Brathwaite, Aubrey Graham & Noah Shebib, songwriters (PartyNextDoor Featuring Drake) “Exchange” — Michael Hernandez & Bryson Tiller, songwriters (Bryson Tiller) “Kiss It Better” — Jeff Bhasker, Robyn Fenty, John-Nathan Glass & Natalia Noemi, songwriters (Rihanna) WINNER: “Lake By the Ocean” — Hod David & Musze, songwriters (Maxwell) “Luv” — Magnus August Høiberg, Benjamin Levin & Daystar Peterson, songwriters (Tory Lanez)

Best R&B Album:

In My Mind — BJ The Chicago Kid WINNER: Lalah Hathaway Live — Lalah Hathaway Velvet Portraits — Terrace Martin Healing Season — Mint Condition Smoove Jones — Mya

RAP

Best Rap Album:

WINNER: Coloring Book — Chance The Rapper And the Anonymous Nobody — De La Soul Major Key — DJ Khaled Views — Drake Blank Face LP — ScHoolboy Q The Life of Pablo — Kanye West

Best Rap Performance:

WINNER: “No Problem” — Chance the Rapper Featuring Lil Wayne & 2 Chainz “Panda” —Desiigner “Pop Style” — Drake Featuring The Throne “All The Way Up” — Fat Joe & Remy Ma Featuring French Montana & Infared “That Part” — ScHoolboy Q Featuring Kanye West

Best Rap/Sung Performance:

“Freedom” — Beyoncé Featuring Kendrick Lamar WINNER: “Hotline Bling” — Drake “Broccoli” — D.R.A.M. Featuring Lil Yachty “Ultralight Beam” — Kanye West Featuring Chance The Rapper, Kelly Price, Kirk Franklin & The-Dream “Famous” — Kanye West Featuring Rihanna

Best Rap Song:

“All The Way Up” — Joseph Cartagena, Edward Davadi, Shandel Green, Karim Kharbouch, Andre Christopher Lyon, Reminisce Mackie & Marcello Valenzano, songwriters (Fat Joe & Remy Ma Featuring French Montana & Infared) “Famous” — Chancelor Bennett, Ross Birchard, Ernest Brown, Andrew Dawson, Kasseem Dean, Mike Dean, Noah Goldstein, Kejuan Muchita, Patrick Reynolds, Kanye West & Cydel Young, songwriters (Kanye West Featuring Rihanna) “Hotline Bling” — Aubrey Graham & Paul Jefferies, songwriters (Drake) “No Problem” — Chancelor Bennett, Dwayne Carter & Tauheed Epps, songwriters (Chance The Rapper Featuring Lil Wayne & 2 Chainz) “Ultralight Beam” — Chancelor Bennett, Kasseem Dean, Mike Dean, Kirk Franklin, Noah Goldstein, Samuel Griesemer, Terius Nash, Jerome Potter, Kelly Price, Nico “Donnie Trumpet” Segal, Derek Watkins, Kanye West & Cydel Young, songwriters (Kanye West Featuring Chance The Rapper, Kelly Price, Kirk Franklin & The-Dream)

COUNTRY

Best Country Solo Performance:

“Love Can Go To Hell” — Brandy Clark “Vice” — Miranda Lambert WINNER: “My Church” — Maren Morris “Church Bells” — Carrie Underwood “Blue Ain’t Your Color” — Keith Urban

Best Country Duo/Group Performance:

“Different for Girls” — Dierks Bentley Featuring Elle King “21 Summer” — Brothers Osborne “Setting The World On Fire” — Kenny Chesney & P!nk WINNER: “Jolene” — Pentatonix Featuring Dolly Parton “Think Of You” — Chris Young With Cassadee Pope

Best Country Song:

“Blue Ain’t Your Color” — Clint Lagerberg, Hillary Lindsey & Steven Lee Olsen, songwriters (Keith Urban) “Die A Happy Man” — Sean Douglas, Thomas Rhett & Joe Spargur, songwriters (Thomas Rhett) WINNER: “Humble and Kind” — Lori McKenna, songwriter (Tim McGraw) “My Church” — busbee & Maren Morris, songwriters (Maren Morris) “Vice” — Miranda Lambert, Shane McAnally & Josh Osborne, songwriters (Miranda Lambert)

Best Country Album:

Big Day in a Small Town — Brandy Clark Full Circle — Loretta Lynn Hero — Maren Morris WINNER: A Sailor’s Guide to Earth — Sturgill Simpson Ripcord — Keith Urban

NEW AGE

Best New Age Album:

Orogen — John Burke Dark Sky Island — Enya Inner Passion — Peter Kater & Tina Guo Rosetta — Vangelis WINNER: White Sun II — White Sun

JAZZ

Best Improvised Jazz Solo:

“Countdown” — Joey Alexander, soloist “In Movement” — Ravi Coltrane, soloist “We See” — Fred Hersch, soloist “I Concentrate On You” — Brad Mehldau, soloist WINNER: “I’m So Lonesome I Could Cry” — John Scofield, soloist

Best Jazz Vocal Album:

Sound Of Red — René Marie Upward Spiral — Branford Marsalis Quartet With Special Guest Kurt Elling WINNER: Take Me To The Alley — Gregory Porter Harlem On My Mind — Catherine Russell The Sting Variations — The Tierney Sutton Band

Best Jazz Instrumental Album:

Book of Intuition — Kenny Barron Trio Dr. Um — Peter Erskine Sunday Night At The Vanguard — The Fred Hersch Trio Nearness — Joshua Redman & Brad Mehldau WINNER: Country for Old Men — John Scofield

Best Large Jazz Ensemble Album:

Real Enemies — Darcy James Argue’s Secret Society Presents Monk’estra, Vol. 1 — John Beasley Kaleidoscope Eyes: Music of the Beatles — John Daversa All L.A. Band — Bob Mintzer WINNER: Presidential Suite: Eight Variations on Freedom — Ted Nash Big Band

Best Latin Jazz Album:

Entre Colegas — Andy González Madera Latino: A Latin Jazz Perspective On The Music Of Woody Shaw — Brian Lynch & Various Artists Canto América — Michael Spiro/Wayne Wallace La Orquesta Sinfonietta 30 – Trio Da Paz WINNER: Tribute To Irakere: Live In Marciac — Chucho Valdés

GOSPEL/CONTEMPORARY CHRISTIAN MUSIC FIELD

Best Gospel Performance/Song:

“It’s Alright, It’s OK” — Shirley Caesar Featuring Anthony Hamilton; Stanley Brown & Courtney Rumble, songwriters “You’re Bigger [Live]” — Jekalyn Carr; Allundria Carr, songwriter “Made A Way [Live]” — Travis Greene; Travis Greene, songwriter WINNER: “God Provides” — Tamela Mann; Kirk Franklin, songwriter “Better” — Hezekiah Walker; Jason Clayborn, Gabriel Hatcher & Hezekiah Walker, songwriters

Best Contemporary Christian Music Performance/Song:

“Trust In You” — Lauren Daigle; Lauren Daigle, Michael Farren & Paul Mabury, songwriters “Priceless” — For King & Country; Benjamin Backus, Seth Mosley, Joel Smallbone, Luke Smallbone & Tedd Tjornhom, songwriters “King of the World” — Natalie Grant; Natalie Grant, Becca Mizell & Samuel Mizell, songwriters WINNER: “Thy Will” — Hillary Scott & The Scott Family; Bernie Herms, Hillary Scott & Emily Weisband, songwriters Track from: Love Remains “Chain Breaker” — Zach Williams; Mia Fieldes, Jonathan Smith & Zach Williams, songwriters

Best Gospel Album:

Listen —Tim Bowman Jr. Fill This House — Shirley Caesar A Worshipper’s Heart [Live] —Todd Dulaney WINNER: Losing My Religion — Kirk Franklin Demonstrate [Live] —William Murphy

Best Contemporary Christian Music Album:

Poets & Saints — All Sons & Daughters American Prodigal — Crowder Be One — Natalie Grant Youth Revival [Live] — Hillsong Young & Free WINNER: Love Remains — Hillary Scott & The Scott Family

Best Roots Gospel Album:

Better Together — Gaither Vocal Band Nature’s Symphony In 432 — The Isaacs WINNER: Hymns — Joey+Rory Hymns And Songs Of Inspiration — Gordon Mote God Don’t Ever Change: The Songs Of Blind Willie Johnson — (Various Artists)

LATIN

Best Latin Pop Album:

WINNER: Un Besito Mas — Jesse & Joy Ilusión — Gaby Moreno Similares — Laura Pausini Seguir Latiendo — Sanalejo Buena Vida — Diego Torres

Best Latin Rock, Urban or Alternative Album:

WINNER: iLevitable — ile L.H.O.N. (La Humanidad O Nosotros) — Illya Kuryaki & The Valderamas Buenaventura — La Santa Cecilia Los Rakas — Los Rakas Amor Supremo — Carla Morrison

Best Regional Mexican Music Album (Including Tejano):

Raíces — Banda El Recodo De Cruz Lizárraga Hecho A Mano — Joss Favela WINNER: Un Azteca En El Azteca, Vol. 1 (En Vivo) — Vicente Fernández Generación Maquinaria Est. 2006 — La Maquinaria Norteña Tributo A Joan Sebastian Y Rigoberto Alfaro — Mariachi Divas De Cindy Shea

Best Tropical Latin Album:

Conexión — Fonseca La Fantasia Homenaje A Juan Formell — Formell Y Los Van Van 35 Aniversario — Grupo Niche La Sonora Santanera En Su 60 Aniversario — La Sonora Santanera WINNER: Donde Están? — Jose Lugo & Guasábara Combo

AMERICAN ROOTS MUSIC

Best American Roots Performance:

“Ain’t No Man” — The Avett Brothers “Mother’s Children Have A Hard Time” — Blind Boys Of Alabama “Factory Girl” — Rhiannon Giddens WINNER: “House of Mercy” — Sarah Jarosz “Wreck You” — Lori McKenna

Best American Roots Song:

“Alabama at Night” — Robbie Fulks, songwriter (Robbie Fulks) “City Lights” — Jack White, songwriter (Jack White) “Gulfstream” — Eric Adcock & Roddie Romero, songwriters (Roddie Romero and The Hub City All-Stars) WINNER: “Kid Sister” — Vince Gill, songwriter (The Time Jumpers) “Wreck You” — Lori McKenna & Felix McTeigue, songwriters (Lori McKenna)

Best Americana Album:

True Sadness — The Avett Brothers WINNER: This Is Where I Live — William Bell The Cedar Creek Sessions — Kris Kristofferson The Bird & The Rifle — Lori McKenna Kid Sister — The Time Jumpers

Best Bluegrass Album:

Original Traditional — Blue Highway Burden Bearer — Doyle Lawson & Quicksilver The Hazel Sessions — Laurie Lewis & The Right Hands North And South — Claire Lynch WINNER: Coming Home — O’Connor Band With Mark O’Connor

Best Traditional Blues Album:

Can’t Shake The Feeling — Lurrie Bell Live At The Greek Theatre — Joe Bonamassa Blues & Ballads (A Folksinger’s Songbook: Volumes I & II) — Luther Dickinson The Soul of Jimmie Rodgers — Vasti Jackson WINNER: Porcupine Meat — Bobby Rush

Best Contemporary Blues Album:

WINNER: The Last Days of Oakland — Fantastic Negrito Love Wins Again — Janiva Magness Bloodline — Kenny Neal Give It Back To You — The Record Company Everybody Wants A Piece — Joe Louis Walker

Best Folk Album:

Silver Skies Blue — Judy Collins & Ari Hest Upland Stories — Robbie Fulks Factory Girl — Rhiannon Giddens Weighted Mind — Sierra Hull WINNER: Undercurrent — Sarah Jarosz

Best Regional Roots Music Album:

Broken Promised Land — Barry Jean Ancelet & Sam Broussard It’s A Cree Thing — Northern Cree WINNER: E Walea — Kalani Pe’a Gulfstream — Roddie Romero And The Hub City All-Stars I Wanna Sing Right: Rediscovering Lomax In The Evangeline Country — (Various Artists)

REGGAE

Best Reggae Album:

Sly & Robbie Presents… Reggae For Her – Devin Di Dakta & J.L Rose Petals — J Boog WINNER: Ziggy Marley — Ziggy Marley Everlasting — Raging Fyah Falling Into Place — Rebelution Soja: Live In Virginia — Soja

WORLD MUSIC

Best World Music Album:

Destiny — Celtic Woman Walking In The Footsteps Of Our Fathers — Ladysmith Black Mambazo WINNER: Sing Me Home — Yo-Yo Ma & The Silk Road Ensemble Land Of Gold — Anoushka Shankar Dois Amigos, Um Século De Música: Multishow Live — Caetano Veloso & Gilberto Gil

CHILDREN’S

Best Children’s Album:

Explorer Of The World — Frances England WINNER: Infinity Plus One — Secret Agent 23 Skidoo Novelties — Recess Monkey Press Play — Brady Rymer And The Little Band That Could Saddle Up — The Okee Dokee Brothers

SPOKEN WORD

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling):

The Girl With The Lower Back Tattoo — Amy Schumer WINNER: In Such Good Company: Eleven Years Of Laughter, Mayhem, And Fun In The Sandbox — Carol Burnett M Train — Patti Smith Under The Big Black Sun: A Personal History Of L.A.Punk (John Doe With Tom DeSavia) — (Various Artists) Unfaithful Music & Disappearing Ink — Elvis Costello

COMEDY

Best Comedy Album:

…America…Great… — David Cross American Myth — Margaret Cho Boysih Girl Interrupted — Tig Notaro Live At The Apollo — Amy Schumer WINNER: Talking for Clapping — Patton Oswalt

MUSICAL

Best Musical Theater Album:

Bright Star — Carmen Cusack, principal soloist; Jay Alix, Peter Asher & Una Jackman, producers; Steve Martin, composer; Edie Brickell, composer & lyricist (Original Broadway Cast) WINNER: The Color Purple — Cynthia Erivo & Jennifer Hudson, principal soloists; Stephen Bray, Van Dean, Frank Filipetti, Roy Furman, Scott Sanders & Jhett Tolentino, producers (Stephen Bray, Brenda Russell & Allee Willis, composers/lyricists) (New Broadway Cast) Fiddler On The Roof — Danny Burstein, principal soloist; Louise Gund, David Lai & Ted Sperling, producers (Jerry Bock, composer; Sheldon Harnick, lyricist) (2016 Broadway Cast) Kinky Boots — Killian Donnelly & Matt Henry, principal soloists; Sammy James, Jr., Cyndi Lauper, Stephen Oremus & William Wittman, producers (Cyndi Lauper, composer & lyricist) (Original West End Cast) Waitress — Jessie Mueller, principal soloist; Neal Avron, Sara Bareilles & Nadia DiGiallonardo, producers; Sara Bareilles, composer & lyricist (Original Broadway Cast)

MUSIC FOR VISUAL MEDIA

Best Compilation Soundtrack For Visual Media:

Amy — (Various Artists) WINNER: Miles Ahead — Miles Davis & Various Artists) Straight Outta Compton — (Various Artists) Suicide Squad (Collector’s Edition) — (Various Artists) Vinyl: The Essentials Season 1 — (Various Artists)

Best Score Soundtrack For Visual Media:

Bridge of Spies — Thomas Newman, composer Quentin Tarantino’s The Hateful Eight — Ennio Morricone, composer The Revenant — Alva Noto & Ryuichi Sakamoto, composers WINNER: Star Wars: The Force Awakens — John Williams, composer Stranger Things Volume 1 — Kyle Dixon & Michael Stein, composers Stranger Things Volume 2 — Kyle Dixon & Michael Stein, composers

Best Song Written For Visual Media:

WINNER: “Can’t Stop The Feeling!” — Max Martin, Shellback & Justin Timberlake, songwriters (Justin Timberlake, Anna Kendrick, Gwen Stefani, James Corden, Zooey Deschanel, Walt Dohrn, Ron Funches, Caroline Hjelt, Aino Jawo, Christopher Mintz-Plasse & Kunal Nayyar), Track from: Trolls “Heathens” — Tyler Joseph, songwriter (Twenty One Pilots), Track from: Suicide Squad “Just Like Fire” — Oscar Holter, Max Martin, P!nk & Shellback, songwriters (P!nk), Track from: Alice Through The Looking Glass “Purple Lamborghini” — Shamann Cooke, Sonny Moore & William Roberts, songwriters (Skrillex & Rick Ross), Track from: Suicide Squad “Try Everything” — Mikkel S. Eriksen, Sia Furler & Tor Erik Hermansen, songwriters (Shakira), Track from: Zootopia “The Veil” — Peter Gabriel, songwriter (Peter Gabriel), Track from: Snowden

COMPOSING/ARRANGING

Best Instrumental Composition:

“Bridge of Spies (End Title)” — Thomas Newman, composer (Thomas Newman) “The Expensive Train Set (An Epic Sarahnade For Big Band)” — Tim Davies, composer (Tim Davies Big Band) “Flow” — Alan Ferber, composer (Alan Ferber Nonet) “L’Ultima Diligenza Di Red Rock – Verisione Integrale” — Ennio Morricone, composer (Ennio Morricone) WINNER: “Spoken At Midnight” — Ted Nash, composer (Ted Nash Big Band)

Best Arrangement, Instrumental or A Cappella:

“Ask Me Now” — John Beasley, arranger (John Beasley) “Good ‘Swing’ Wenceslas” — Sammy Nestico, arranger (The Count Basie Orchestra) “Linus & Lucy” — Christian Jacob, arranger (The Phil Norman Tentet) “Lucy In The Sky With Diamonds” — John Daversa, arranger (John Daversa) “We Three Kings” — Ted Nash, arranger (Jazz at Lincoln Center Orchestra With Wynton Marsalis) WINNER: “You and I” — Jacob Collier, arranger (Jacob Collier)

Best Arrangement, Instruments and Vocals:

“Do You Hear What I Hear?” — Gordon Goodwin, arranger (Gordon Goodwin’s Big Phat Band Featuring Take 6) “Do You Want To Know A Secret” — John Daversa, arranger (John Daversa Featuring Renee Olstead) WINNER: “Flintstones” — Jacob Collier, arranger (Jacob Collier) “I’m A Fool To Want You” — Alan Broadbent, arranger (Kristin Chenoweth) “Somewhere (Dirty Blvd) (Extended Version)” — Billy Childs & Larry Klein, arrangers (Lang Lang Featuring Lisa Fischer & Jeffrey Wright)

PACKAGE

Best Recording Package:

Anti (Deluxe Edition) — Ciarra Pardo & Robyn Fenty, art directors (Rihanna) WINNER: Blackstar — Jonathan Barnbrook, art director (David Bowie) Human Performance — Andrew Savage, art director (Parquet Courts) Sunset Motel — Sarah Dodds & Shauna Dodds, art directors (Reckless Kelly) 22, A Million — Eric Timothy Carlson, art director (Bon Iver)

Best Boxed Or Special Limited Edition Package:

WINNER: Edith Piaf 1915-2015 — Gérard Lo Monaco, art director (Edith Piaf) 401 Days — Jonathan Dagan & Mathias Høst Normark, art directors (J.Views) I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It — Samuel Burgess-Johnson & Matthew Healy, art directors (The 1975) Paper Wheels (Deluxe Limited Edition) — Matt Taylor, art director (Trey Anastasio) Tug of War (Deluxe Edition) — Simon Earith & James Musgrave, art directors (Paul McCartney)

NOTES

Best Album Notes:

The Complete Monument & Columbia Albums Collection — Mikal Gilmore, album notes writer (Kris Kristofferson) The Knoxville Sessions, 1929-1930: Knox County Stomp — Ted Olson & Tony Russell, album notes writers (Various Artists) Ork Records: New York, New York — Rob Sevier & Ken Shipley, album notes writers (Various Artists) WINNER: Sissle And Blake Sing Shuffle Along — Ken Bloom & Richard Carlin, album notes writers (Eubie Blake & Noble Sissle) Waxing The Gospel: Mass Evangelism & The Phonograph, 1890-1990 — Richard Martin, album notes writer (Various Artists)

HISTORICAL

Best Historical Album:

WINNER: The Cutting Edge 1965-1966: The Bootleg Series, Vol. 12 (Collector’s Edition) — Steve Berkowitz & Jeff Rosen, compilation producers; Mark Wilder, mastering engineer (Bob Dylan) Music Of Morocco From The Library Of Congress: Recorded By Paul Bowles, 1959 — April G. Ledbetter, Steven Lance Ledbetter, Bill Nowlin & Philip D. Schuyler, compilation producers; Rick Fisher & Michael Graves, mastering engineers (Various Artists) Ork Records: New York, New York — Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton & Maria Rice, mastering engineers (Various Artists) Vladimir Horowitz: The Unreleased Live Recordings 1966-1983 — Bernard Horowitz, Andreas K. Meyer & Robert Russ, compilation producers; Andreas K. Meyer & Jeanne Montalvo, mastering engineers (Vladimir Horowitz) Waxing The Gospel: Mass Evangelism & The Phonograph, 1890 – 1900 — Michael Devecka, Meagan Hennessey & Richard Martin, compilation producers; Michael Devecka, David Giovannoni, Michael Khanchalian & Richard Martin, mastering engineers (Various Artists)

PRODUCTION, NON-CLASSICAL

Best Engineered Album, Non-Classical:

Are You Serious — Tchad Blake & David Boucher, engineers; Bob Ludwig, mastering engineer (Andrew Bird) WINNER: Blackstar — David Bowie, Tom Elmhirst, Kevin Killen, Tony Visconti & Joe LaPorta (David Bowie) Dig In Deep — Ryan Freeland, engineer; Kim Rosen, mastering engineer (Bonnie Raitt) Hit N Run Phase Two — Booker T., Dylan Dresdow, Chris James, Prince & Justin Stanley, engineers; Dylan Dresdow, mastering engineer (Prince) Undercurrent — Shani Gandhi & Gary Paczosa, engineers; Paul Blakemore, mastering engineer (Sarah Jarosz)

Producer Of The Year, Non-Classical:

Benny Blanco WINNER: Greg Kurstin Max Martin Nineteen85 Ricky Reed

Best Remixed Recording:

“Cali Coast (Psionics Remix)” — Josh Williams, remixer (Soul Pacific) “Heavy Star Movin’ (staRo Remix)” — staRo, remixer (The Silver Lake Chorus) “Nineteen Hundred Eighty-Five (Timo Maas & James Teej Remix)” — Timo Maas & James Teej, remixers (Paul McCartney & Wings) “Only” (Kaskade X Lipless Remix)— Ryan Raddon, remixer (Ry X) WINNER: “Tearing Me Up (RAC Remix)” — André Allen Anjos, remixer (Bob Moses) “Wide Open (Joe Goddard Remix)” — Joe Goddard, remixer (The Chemical Brothers)

SURROUND SOUND

Best Surround Sound Album:

WINNER: Dutilleux: Sur La Mêe Accord; Les Citations; Mystère De L’Instant & Timbres, Espace, Mouvement — Alexander Lipay & Dmitriy Lipay, surround mix engineers; Dmitriy Lipay, surround mastering engineer; Dmitriy Lipay, surround producer (Ludovic Morlot & Seattle Symphony) Johnson: Considering Matthew Shephard — Brad Michel, surround mix engineer; Brad Michel, surround mastering engineer; Robina G. Young, surround producer (Craig Hella Johnson & Conspirare) Maja S.K. Ratkje: And Sing … — Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Maja S.K. Ratkje, Cikada & Oslo Sinfonietta) Primus & The Chocolate Factory — Les Claypool, surround mix engineer; Stephen Marcussen, surround mastering engineer; Les Claypool, surround producer (Primus) Reflections — Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)

PRODUCTION, CLASSICAL

Best Engineered Album, Classical:

WINNER: Corigliano: The Ghosts Of Versailles — Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra) Dutilleux: Sur La Mêe Accord; Les Citations; Mystère De L’Instant & Timbres, Espace, Mouvement — Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot & Seattle Symphony) Reflections — Morten Lindberg, engineer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene) Shadow of Sirius — Silas Brown & David Frost, engineers; Silas Brown, Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9 — Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

Producer of the Year, Classical:

Blanton Alspaugh WINNER: David Frost Marina A. Ledin, Victor Ledin Judith Sherman Robina G. Young

CLASSICAL

Best Orchestral Field:

Bates: Works For Orchestra — Michael Tilson Thomas, conductor (San Francisco Symphony) Ibert: Orchestral Works — Neeme Järvi, conductor (Orchestre De La Suisse Romande) Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100 — Mariss Jansons, conductor (Royal Concertgebouw Orchestra) Rouse: Odna Zhizn; Symphonies 3 & 4; Prospero’s Rooms — Alan Gilbert, conductor (New York Philharmonic) WINNER: Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9 — Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording:

WINNER: Corigliano: The Ghosts Of Versailles — James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus) Handel: Giulio Cesare — Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico) Higdon: Cold Mountain — Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program For Singers) Mozart: Le Nozze De Figaro — Yannick Nézet-Séguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra Of Europe; Vocalensemble Rastatt) Szymanowski: Król Roger — Antonio Pappano, conductor; Georgia Jarman, Mariusz Kwiecień & Saimir Pirgu; Jonathan Allen, producer (Orchestra Of The Royal Opera House; Royal Opera Chorus)

Best Choral Performance:

Himmerland — Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble) Janáček: Glagolitic Mass — Edward Gardner, conductor; Håkon Matti Skrede, chorus master (Susan Bickley, Gábor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir Of Collegium Musicum & Edvard Grieg Kor) Lloyd: Bonhoeffer — Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; The Crossing) WINNER: Penderecki Conducts Penderecki, Volume 1 — Krzystof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir) Steinberg: Passion Week — Steven Fox, conductor (The Clarion Choir)

Best Chamber Music/Small Ensemble Performance:

Fitelberg: Chamber Works — ARC Ensemble Reflections — Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene Serious Business — Spektral Quartet WINNER: Steve Reich — Third Coast Percussion Trios From Our Homelands — Lincoln Trio

Best Classical Instrumental Solo:

Adams, J.: Scheherazade.2 — Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony) WINNER: Daugherty: Tales Of Hemingway — Zuill Bailey; Giancarlo Guerrero, conductor (Nashville Symphony) Dvorák: Violin Concerto & Romance; Suk: Fantasy —Christian Tetzlaff; John Storgårds, conductor (Helsinki Philharmonic Orchestra) Mozart: Keyboard Music, Vols. 8 & 9 — Kristian Bezuidenhout 1930’s Violin Concertos, Vol. 2 — Gil Shaham; Stéphane Denève, conductor (The Knights & Stuttgart Radio Symphony Orchestra)

Best Classical Solo Vocal Album:

Monteverdi — Magdalena Kožená; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel) Mozart: The Weber Sisters — Sabine Devieilhe; Raphaël Pichon, conductor (Pygmalion) Schumann & Berg — Dorothea Röschmann; Mitsuko Uchida, accompanist WINNER: Shakespeare Songs — Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker) Verismo — Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia)

Best Classical Compendium:

WINNER: Daugherty: Tales Of Hemingway; American Gothic; Once Upon A Castle — Giancarlo Guerrero, conductor; Tim Handley, producer Gesualdo — Tõnu Kaljuste, conductor; Manfred Eicher, producer Vaughan Williams: Discoveries — Martyn Brabbins, conductor; Andrew Walton, producer Wolfgang: Passing Through — Judith Farmer & Gernot Wolfgang, producers Zappa: 200 Motels — The Suites — Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers

Best Contemporary Classical Composition:

Bates: Anthology Of Fantastic Zoology — Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra) WINNER: Daugherty: Tales Of Hemingway — Michael Daugherty, composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony) Higdon: Cold Mountain — Jennifer Higdon, composer; Gene Scheer, librettist Theofanidis: Bassoon Concerto — Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky & Northwest Sinfonia) Winger: Conversations With Nijinsky — C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra)

MUSIC VIDEO/FILM

Best Music Video:

WINNER: “Formation” — Beyoncé “River” — Leon Bridges “Up & Up” — Coldplay “Gosh” — Jamie XX “Upside Down & Inside Out” — OK Go

Best Music Film:

I’ll Sleep When I’m Dead — Steve Aoki WINNER: The Beatles: Eight Days A Week The Touring Years — (The Beatles) Lemonade — Beyoncé The Music Of Strangers — Yo-Yo Ma & The Silk Road Ensemble American Saturday Night: Live From The Grand Ole Opry — (Various Artists)

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GRAMMY 2017 - LISTA DE NOMINACIONES - #GRAMMY, #Grammy´s, #POP, #ROCK, #Showsargentinos

Publicado en http://bit.ly/2lF28NB

GRAMMY 2017 - LISTA DE NOMINACIONES

DESDE LAS 22, POR TNT Una ceremonia con todos los ingredientes Como todos los años, la transmisión de los Premios Grammy tendrá ingredientes que le suman interés a la entrega de los gramófonos, que será transmitida desde las 22 por TNT (41 de Cablevisión, 502 de DirecTV y 42 de Telecentro). [caption id="" align="alignnone" width="670"] Quien se llevará mas grammys esta noche ?[/caption]

Lista de nominados completa y oficial

Album Of The Year: 25 — Adele Lemonade — Beyoncé Purpose — Justin Bieber Views — Drake A Sailor's Guide To Earth — Sturgill Simpson Record Of The Year: "Hello" — Adele "Formation" — Beyoncé "7 Years" — Lukas Graham "Work" — Rihanna Featuring Drake "Stressed Out" — Twenty One Pilots 2017 Grammys Song Of The Year: "Formation" — Khalif Brown, Asheton Hogan, Beyoncé Knowles & Michael L. Williams II, songwriters (Beyoncé) "Hello" — Adele Adkins & Greg Kurstin, songwriters (Adele) "I Took A Pill In Ibiza" — Mike Posner, songwriter (Mike Posner) "Love Yourself" — Justin Bieber, Benjamin Levin & Ed Sheeran, songwriters (Justin Bieber) "7 Years" — Lukas Forchhammer, Stefan Forrest, Morten Pilegaard & Morten Ristorp, songwriters (Lukas Graham) Best New Artist: Kelsea Ballerini The Chainsmokers Chance The Rapper Maren Morris Anderson .Paak POP FIELD Best Pop Vocal Album: 25 — Adele Purpose — Justin Bieber Dangerous Woman — Ariana Grande Confident — Demi Lovato This Is Acting — Sia Best Pop Solo Performance: "Hello" — Adele "Hold Up" — Beyonce "Love Yourself" — Justin Bieber "Piece By Piece (Idol Version)" — Kelly Clarkson "Dangerous Woman" — Ariana Grande Best Pop Duo/Group Performance: "Closer" — The Chainsmokers Featuring Halsey "7 Years" — Lukas Graham "Work" — Rihanna Featuring Drake "Cheap Thrills" — Sia Featuring Sean Paul "Stressed Out" — Twenty One Pilots Best Traditional Pop Vocal Album: Cinema — Andrea Bocelli Fallen Angels — Bob Dylan Stages Live — Josh Groban Summertime: Willie Nelson Sings Gershwin — Willie Nelson Encore: Movie Partners Sing Broadway — Barbra Streisand DANCE/ELECTRONIC MUSIC FIELD Best Dance Recording: "Tearing Me Up" — Bob Moses "Don't Let Me Down" — The Chainsmokers Featuring Daya "Never Be Like You" — Flume Featuring Kai "Rinse & Repeat" — Riton Featuring Kah-Lo "Drinkee" — Sofi Tukker Best Dance/Electronic Album: Skin — Flume Electronica 1: The Time Machine — Jean-Michel Jarre Epoch — Tycho Barbara Barbara, We Face A Shining Future — Underworld Louie Vega Starring…XXVIII — Louie Vega CONTEMPORARY INSTRUMENTAL MUSIC FIELD Best Contemporary Instrumental Album: Human Nature — Herb Alpert When You Wish Upon a Star — Bill Frisell Way Back Home: Live From Rochester, NY — Steve Gadd Band Unpsoken — Chuck Loeb Culcha Vulcha — Snarky Puppy ROCK FIELD Best Rock Performance: "Joe (Live From Austin City Limits)" — Alabama Shakes "Don't Hurt Yourself" — Beyoncé Featuring Jack White "Blackstar" — David Bowie "The Sound Of Silence" — Disturbed "Heathens" — Twenty One Pilots Best Metal Performance: "Shock Me" — Baroness "Slivera" — Gojira "Rotting in Vain" — Korn "Dystopia" — Megadeth "The Price Is Wrong" — Periphery Best Rock Song: "Blackstar" — David Bowie, songwriter (David Bowie) "Burn the Witch" —Radiohead, songwriters (Radiohead) "Hardwired" — James Hetfield & Lars Ulrich, songwriters (Metallica "Heathens" — Tyler Joseph, songwriter (Twenty One Pilots) "My Name Is Human" — Rich Meyer, Ryan Meyer & Johnny Stevens, songwriters (Highly Suspect) Best Rock Album: California — Blink-182 Tell Me I'm Pretty — Cage The Elephant Magma — Gojira Death Of A Bachelor — Panic! At The Disco Weezer — Weezer ALTERNATIVE FIELD Best Alternative Music Album: 22, A Million — Bon Iver Blackstar — David Bowie The Hope Six Demolition Project — PJ Harvey Post Pop Depression — Iggy Pop A Moon Shaped Pool — Radiohead R&B FIELD Best R&B Performance: "Turnin' Me Up" — BJ The Chicago Kid "Permission" — Ro James "I Do" — Musiq Soulchild "Needed Me" — Rihanna "Cranes in the Sky" — Solange Best Traditional R&B Performance: "The Three Of Me" — William Bell "Woman's World" — BJ The Chicago Kid "Sleeping With The One I Love" — Fantasia "Angel" — Lalah Hathaway "Can't Wait" — Jill Scott Best R&B Song: "Come and See Me" — J. Brathwaite, Aubrey Graham & Noah Shebib, songwriters (PartyNextDoor Featuring Drake) "Exchange" — Michael Hernandez & Bryson Tiller, songwriters (Bryson Tiller) "Kiss It Better" — Jeff Bhasker, Robyn Fenty, John-Nathan Glass & Natalia Noemi, songwriters (Rihanna) "Lake By the Ocean" — Hod David & Musze, songwriters (Maxwell) "Luv" — Magnus August Høiberg, Benjamin Levin & Daystar Peterson, songwriters (Tory Lanez) Best Urban Contemporary Album: Lemonade — Beyoncé Ology — Gallant We Are King — KING Malibu — Anderson .Paak Anti — Rihanna Best R&B Album: In My Mind — BJ The Chicago Kid Lalah Hathaway Live — Lalah Hathaway Velvet Portraits — Terrace Martin Healing Season — Mint Condition Smoove Jones — Mya RAP FIELD Best Rap Performance: "No Problem" — Chance The Rapper Featuring Lil Wayne & 2 Chainz "Panda" —Desiigner "Pop Style" — Drake Featuring The Throne "All The Way Up" — Fat Joe & Remy Ma Featuring French Montana & Infared "That Part" — ScHoolboy Q Featuring Kanye West Best Rap/Sung Performance: "Freedom" — Beyoncé Featuring Kendrick Lamar "Hotline Bling" — Drake "Broccoli" — D.R.A.M. Featuring Lil Yachty "Ultralight Beam" — Kanye West Featuring Chance The Rapper, Kelly Price, Kirk Franklin & The-Dream "Famous" — Kanye West Featuring Rihanna Best Rap Song: "All The Way Up" — Joseph Cartagena, Edward Davadi, Shandel Green, Karim Kharbouch, Andre Christopher Lyon, Reminisce Mackie & Marcello Valenzano, songwriters (Fat Joe & Remy Ma Featuring French Montana & Infared) "Famous" — Chancelor Bennett, Ross Birchard, Ernest Brown, Andrew Dawson, Kasseem Dean, Mike Dean, Noah Goldstein, Kejuan Muchita, Patrick Reynolds, Kanye West & Cydel Young, songwriters (Kanye West Featuring Rihanna) "Hotline Bling" — Aubrey Graham & Paul Jefferies, songwriters (Drake) "No Problem" — Chancelor Bennett, Dwayne Carter & Tauheed Epps, songwriters (Chance The Rapper Featuring Lil Wayne & 2 Chainz) "Ultralight Beam" — Chancelor Bennett, Kasseem Dean, Mike Dean, Kirk Franklin, Noah Goldstein, Samuel Griesemer, Terius Nash, Jerome Potter, Kelly Price, Nico "Donnie Trumpet" Segal, Derek Watkins, Kanye West & Cydel Young, songwriters (Kanye West Featuring Chance The Rapper, Kelly Price, Kirk Franklin & The-Dream) Best Rap Album: Coloring Book — Chance The Rapper And the Anonymous Nobody — De La Soul Major Key — DJ Khaled Views — Drake Blank Face LP — ScHoolboy Q The Life of Pablo — Kanye West COUNTRY FIELD Best Country Solo Performance: "Love Can Go To Hell" — Brandy Clark "Vice" — Miranda Lambert "My Church" — Maren Morris "Church Bells" — Carrie Underwood "Blue Ain't Your Color" — Keith Urban Best Country Duo/Group Performance: "Different for Girls" — Dierks Bentley Featuring Elle King "21 Summer" — Brothers Osborne "Setting The World On Fire" — Kenny Chesney & P!nk "Jolene" — Pentatonix Featuring Dolly Parton "Think Of You" — Chris Young With Cassadee Pope Best Country Song: "Blue Ain't Your Color" — Clint Lagerberg, Hillary Lindsey & Steven Lee Olsen, songwriters (Keith Urban) "Die A Happy Man" — Sean Douglas, Thomas Rhett & Joe Spargur, songwriters (Thomas Rhett) "Humble and Kind" — Lori McKenna, songwriter (Tim McGraw) "My Church" — busbee & Maren Morris, songwriters (Maren Morris) "Vice" — Miranda Lambert, Shane McAnally & Josh Osborne, songwriters (Miranda Lambert) Best Country Album: Big Day In A Small Town — Brandy Clark Full Circle — Loretta Lynn Hero — Maren Morris A Sailor's Guide To Earth — Sturgill Simpson Ripcord — Keith Urban NEW AGE FIELD Best New Age Album: Orogen — John Burke Dark Sky Island — Enya Inner Passion — Peter Kater & Tina Guo Rosetta — Vangelis White Sun II — White Sun JAZZ FIELD Best Improvised Jazz Solo: "Countdown" — Joey Alexander, soloist "In Movement" — Ravi Coltrane, soloist "We See" — Fred Hersch, soloist "I Concentrate On You" — Brad Mehldau, soloist "I'm So Lonesome I Could Cry" — John Scofield, soloist Best Jazz Vocal Album: Sound Of Red — René Marie Upward Spiral — Branford Marsalis Quartet With Special Guest Kurt Elling Take Me To The Alley — Gregory Porter Harlem On My Mind — Catherine Russell The Sting Variations — The Tierney Sutton Band Best Jazz Instrumental Album: Book of Intuition — Kenny Barron Trio Dr. Um — Peter Erskine Sunday Night At The Vanguard — The Fred Hersch Trio Nearness — Joshua Redman & Brad Mehldau Country For Old Men — John Scofield Best Large Jazz Ensemble Album: Real Enemies — Darcy James Argue's Secret Society Presents Monk'estra, Vol. 1 — John Beasley Kaleidoscope Eyes: Music of the Beatles — John Daversa All L.A. Band — Bob Mintzer Presidential Suite: Eight Variations On Freedom — Ted Nash Big Band Best Latin Jazz Album: Entre Colegas — Andy González Madera Latino: A Latin Jazz Perspective On The Music Of Woody Shaw — Brian Lynch & Various Artists Canto América — Michael Spiro/Wayne Wallace La Orquesta Sinfonietta 30 - Trio Da Paz Tribute To Irakere: Live In Marciac — Chucho Valdés GOSPEL/CONTEMPORARY CHRISTIAN MUSIC FIELD Best Gospel Performance/Song: "It's Alright, It's OK" — Shirley Caesar Featuring Anthony Hamilton; Stanley Brown & Courtney Rumble, songwriters "You're Bigger [Live]" — Jekalyn Carr; Allundria Carr, songwriter "Made A Way [Live]" — Travis Greene; Travis Greene, songwriter "God Provides" — Tamela Mann; Kirk Franklin, songwriter "Better" — Hezekiah Walker; Jason Clayborn, Gabriel Hatcher & Hezekiah Walker, songwriters Best Contemporary Christian Music Performance/Song: "Trust In You" — Lauren Daigle; Lauren Daigle, Michael Farren & Paul Mabury, songwriters "Priceless" — For King & Country; Benjamin Backus, Seth Mosley, Joel Smallbone, Luke Smallbone & Tedd Tjornhom, songwriters "King of the World" — Natalie Grant; Natalie Grant, Becca Mizell & Samuel Mizell, songwriters "Thy Will" — Hillary Scott & The Scott Family; Bernie Herms, Hillary Scott & Emily Weisband, songwriters Track from: Love Remains "Chain Breaker" — Zach Williams; Mia Fieldes, Jonathan Smith & Zach Williams, songwriters Best Gospel Album: Listen —Tim Bowman Jr. Fill This House — Shirley Caesar A Worshipper's Heart [Live] —Todd Dulaney Losing My Religion — Kirk Franklin Demonstrate [Live] —William Murphy Best Contemporary Christian Music Album: Poets & Saints — All Sons & Daughters American Prodigal — Crowder Be One — Natalie Grant Youth Revival [Live] — Hillsong Young & Free Love Remains — Hillary Scott & The Scott Family Best Roots Gospel Album: Better Together — Gaither Vocal Band Nature's Symphony In 432 — The Isaacs Hymns — Joey+Rory Hymns And Songs Of Inspiration — Gordon Mote God Don't Ever Change: The Songs Of Blind Willie Johnson — (Various Artists) LATIN FIELD Best Latin Pop Album: Un Besito Mas — Jesse & Joy Ilusión — Gaby Moreno Similares — Laura Pausini Seguir Latiendo — Sanalejo Buena Vida — Diego Torres Best Latin Rock, Urban or Alternative Album: iLevitable — ile L.H.O.N. (La Humanidad O Nosotros) — Illya Kuryaki & The Valderamas Buenaventura — La Santa Cecilia Los Rakas — Los Rakas Amor Supremo — Carla Morrison Best Regional Mexican Music Album (Including Tejano): Raíces — Banda El Recodo De Cruz Lizárraga Hecho A Mano — Joss Favela Un Azteca En El Azteca, Vol. 1 (En Vivo) — Vicente Fernández Generación Maquinaria Est. 2006 — La Maquinaria Norteña Tributo A Joan Sebastian Y Rigoberto Alfaro — Mariachi Divas De Cindy Shea Best Tropical Latin Album: Conexión — Fonseca La Fantasia Homenaje A Juan Formell — Formell Y Los Van Van 35 Aniversario — Grupo Niche La Sonora Santanera En Su 60 Aniversario — La Sonora Santanera Donde Están? — Jose Lugo & Guasábara Combo AMERICAN ROOTS MUSIC FIELD Best American Roots Performance: "Ain't No Man" — The Avett Brothers "Mother's Children Have A Hard Time" — Blind Boys Of Alabama "Factory Girl" — Rhiannon Giddens "House Of Mercy" — Sarah Jarosz "Wreck You" — Lori McKenna Best American Roots Song: "Alabama At Night" — Robbie Fulks, songwriter (Robbie Fulks) "City Lights" — Jack White, songwriter (Jack White) "Gulfstream" — Eric Adcock & Roddie Romero, songwriters (Roddie Romero And The Hub City All-Stars) "Kid Sister" — Vince Gill, songwriter (The Time Jumpers) "Wreck You" — Lori McKenna & Felix McTeigue, songwriters (Lori McKenna) Best Americana Album: True Sadness — The Avett Brothers This Is Where I Live — William Bell The Cedar Creek Sessions — Kris Kristofferson The Bird & The Rifle — Lori McKenna Kid Sister — The Time Jumpers Best Bluegrass Album: Original Traditional — Blue Highway Burden Bearer — Doyle Lawson & Quicksilver The Hazel Sessions — Laurie Lewis & The Right Hands North And South — Claire Lynch Coming Home — O'Connor Band With Mark O'Connor Best Traditional Blues Album: Can't Shake The Feeling — Lurrie Bell Live At The Greek Theatre — Joe Bonamassa Blues & Ballads (A Folksinger's Songbook: Volumes I & II) — Luther Dickinson The Soul of Jimmie Rodgers — Vasti Jackson Porcupine Meat — Bobby Rush Best Contemporary Blues Album: The Last Days Of Oakland — Fantastic Negrito Love Wins Again — Janiva Magness Bloodline — Kenny Neal Give It Back To You — The Record Company Everybody Wants A Piece — Joe Louis Walker Best Folk Album: Silver Skies Blue — Judy Collins & Ari Hest Upland Stories — Robbie Fulks Factory Girl — Rhiannon Giddens Weighted Mind — Sierra Hull Undercurrent — Sarah Jarosz Best Regional Roots Music Album: Broken Promised Land — Barry Jean Ancelet & Sam Broussard It's A Cree Thing — Northern Cree E Walea — Kalani Pe'a Gulfstream — Roddie Romero And The Hub City All-Stars I Wanna Sing Right: Rediscovering Lomax In The Evangeline Country — (Various Artists) REGGAE FIELD Best Reggae Album: Sly & Robbie Presents... Reggae For Her – Devin Di Dakta & J.L Rose Petals — J Boog Ziggy Marley — Ziggy Marley Everlasting — Raging Fyah Falling Into Place — Rebelution Soja: Live In Virginia — Soja WORLD MUSIC FIELD Best World Music Album: Destiny — Celtic Woman Walking In The Footsteps Of Our Fathers — Ladysmith Black Mambazo Sing Me Home — Yo-Yo Ma & The Silk Road Ensemble Land Of Gold — Anoushka Shankar Dois Amigos, Um Século De Música: Multishow Live — Caetano Veloso & Gilberto Gil CHILDREN'S FIELD Best Children's Album: Explorer Of The World — Frances England Infinity Plus One — Secret Agent 23 Skidoo Novelties — Recess Monkey Press Play — Brady Rymer And The Little Band That Could Saddle Up — The Okee Dokee Brothers SPOKEN WORD FIELD Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling): The Girl With The Lower Back Tattoo — Amy Schumer In Such Good Company: Eleven Years Of Laughter, Mayhem, And Fun In The Sandbox — Carol Burnett M Train — Patti Smith Under The Big Black Sun: A Personal History Of L.A.Punk (John Doe With Tom DeSavia) — (Various Artists) Unfaithful Music & Disappearing Ink — Elvis Costello COMEDY FIELD Best Comedy Album: ...America...Great... — David Cross American Myth — Margaret Cho Boysih Girl Interrupted — Tig Notaro Live At The Apollo — Amy Schumer Talking For Clapping — Patton Oswalt MUSICAL THEATER Best Musical Theater Album: Bright Star — Carmen Cusack, principal soloist; Jay Alix, Peter Asher & Una Jackman, producers; Steve Martin, composer; Edie Brickell, composer & lyricist (Original Broadway Cast) The Color Purple — Cynthia Erivo & Jennifer Hudson, principal soloists; Stephen Bray, Van Dean, Frank Filipetti, Roy Furman, Scott Sanders & Jhett Tolentino, producers (Stephen Bray, Brenda Russell & Allee Willis, composers/lyricists) (New Broadway Cast) Fiddler On The Roof — Danny Burstein, principal soloist; Louise Gund, David Lai & Ted Sperling, producers (Jerry Bock, composer; Sheldon Harnick, lyricist) (2016 Broadway Cast) Kinky Boots — Killian Donnelly & Matt Henry, principal soloists; Sammy James, Jr., Cyndi Lauper, Stephen Oremus & William Wittman, producers (Cyndi Lauper, composer & lyricist) (Original West End Cast) Waitress — Jessie Mueller, principal soloist; Neal Avron, Sara Bareilles & Nadia DiGiallonardo, producers; Sara Bareilles, composer & lyricist (Original Broadway Cast) MUSIC FOR VISUAL MEDIA FIELD Best Compilation Soundtrack For Visual Media: Amy — (Various Artists) Miles Ahead — Miles Davis & Various Artists) Straight Outta Compton — (Various Artists) Suicide Squad (Collector's Edition) — (Various Artists) Vinyl: The Essentials Season 1 — (Various Artists) Best Score Soundtrack For Visual Media: Bridge of Spies — Thomas Newman, composer Quentin Tarantino's The Hateful Eight — Ennio Morricone, composer The Revenant — Alva Noto & Ryuichi Sakamoto, composers Star Wars: The Force Awakens — John Williams, composer Stranger Things Volume 1 — Kyle Dixon & Michael Stein, composers Stranger Things Volume 2 — Kyle Dixon & Michael Stein, composers Best Song Written For Visual Media: "Can't Stop The Feeling!" — Max Martin, Shellback & Justin Timberlake, songwriters (Justin Timberlake, Anna Kendrick, Gwen Stefani, James Corden, Zooey Deschanel, Walt Dohrn, Ron Funches, Caroline Hjelt, Aino Jawo, Christopher Mintz-Plasse & Kunal Nayyar), Track from: Trolls "Heathens" — Tyler Joseph, songwriter (Twenty One Pilots), Track from: Suicide Squad "Just Like Fire" — Oscar Holter, Max Martin, P!nk & Shellback, songwriters (P!nk), Track from: Alice Through The Looking Glass "Purple Lamborghini" — Shamann Cooke, Sonny Moore & William Roberts, songwriters (Skrillex & Rick Ross), Track from: Suicide Squad "Try Everything" — Mikkel S. Eriksen, Sia Furler & Tor Erik Hermansen, songwriters (Shakira), Track from: Zootopia "The Veil" — Peter Gabriel, songwriter (Peter Gabriel), Track from: Snowden COMPOSING/ARRANGING FIELD Best Instrumental Composition: "Bridge of Spies (End Title)" — Thomas Newman, composer (Thomas Newman) "The Expensive Train Set (An Epic Sarahnade For Big Band)" — Tim Davies, composer (Tim Davies Big Band) "Flow" — Alan Ferber, composer (Alan Ferber Nonet) "L'Ultima Diligenza Di Red Rock - Verisione Integrale" — Ennio Morricone, composer (Ennio Morricone) "Spoken At Midnight" — Ted Nash, composer (Ted Nash Big Band) Best Arrangement, Instrumental or A Cappella: "Ask Me Now" — John Beasley, arranger (John Beasley) "Good 'Swing' Wenceslas" — Sammy Nestico, arranger (The Count Basie Orchestra) "Linus & Lucy" — Christian Jacob, arranger (The Phil Norman Tentet) "Lucy In The Sky With Diamonds" — John Daversa, arranger (John Daversa) "We Three Kings" — Ted Nash, arranger (Jazz At Lincoln Center Orchestra With Wynton Marsalis) "You And I" — Jacob Collier, arranger (Jacob Collier) Best Arrangement, Instruments and Vocals: "Do You Hear What I Hear?" — Gordon Goodwin, arranger (Gordon Goodwin's Big Phat Band Featuring Take 6) "Do You Want To Know A Secret" — John Daversa, arranger (John Daversa Featuring Renee Olstead) "Flintstones" — Jacob Collier, arranger (Jacob Collier) "I'm A Fool To Want You" — Alan Broadbent, arranger (Kristin Chenoweth) "Somewhere (Dirty Blvd) (Extended Version)" — Billy Childs & Larry Klein, arrangers (Lang Lang Featuring Lisa Fischer & Jeffrey Wright) PACKAGE FIELD Best Recording Package: Anti (Deluxe Edition) — Ciarra Pardo & Robyn Fenty, art directors (Rihanna) Blackstar — Jonathan Barnbrook, art director (David Bowie) Human Performance — Andrew Savage, art director (Parquet Courts) Sunset Motel — Sarah Dodds & Shauna Dodds, art directors (Reckless Kelly) 22, A Million — Eric Timothy Carlson, art director (Bon Iver) Best Boxed Or Special Limited Edition Package: Edith Piaf 1915-2015 — Gérard Lo Monaco, art director (Edith Piaf) 401 Days — Jonathan Dagan & Mathias Høst Normark, art directors (J.Views) I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It — Samuel Burgess-Johnson & Matthew Healy, art directors (The 1975) Paper Wheels (Deluxe Limited Edition) — Matt Taylor, art director (Trey Anastasio) Tug of War (Deluxe Edition) — Simon Earith & James Musgrave, art directors (Paul McCartney) NOTES FIELD Best Album Notes: The Complete Monument & Columbia Albums Collection — Mikal Gilmore, album notes writer (Kris Kristofferson) The Knoxville Sessions, 1929-1930: Knox County Stomp — Ted Olson & Tony Russell, album notes writers (Various Artists) Ork Records: New York, New York — Rob Sevier & Ken Shipley, album notes writers (Various Artists) Sissle And Blake Sing Shuffle Along — Ken Bloom & Richard Carlin, album notes writers (Eubie Blake & Noble Sissle) Waxing The Gospel: Mass Evangelism & The Phonograph, 1890-1990 — Richard Martin, album notes writer (Various Artists) HISTORICAL FIELD Best Historical Album: The Cutting Edge 1965-1966: The Bootleg Series, Vol. 12 (Collector's Edition) — Steve Berkowitz & Jeff Rosen, compilation producers; Mark Wilder, mastering engineer (Bob Dylan) Music Of Morocco From The Library Of Congress: Recorded By Paul Bowles, 1959 — April G. Ledbetter, Steven Lance Ledbetter, Bill Nowlin & Philip D. Schuyler, compilation producers; Rick Fisher & Michael Graves, mastering engineers (Various Artists) Ork Records: New York, New York — Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton & Maria Rice, mastering engineers (Various Artists) Vladimir Horowitz: The Unreleased Live Recordings 1966-1983 — Bernard Horowitz, Andreas K. Meyer & Robert Russ, compilation producers; Andreas K. Meyer & Jeanne Montalvo, mastering engineers (Vladimir Horowitz) Waxing The Gospel: Mass Evangelism & The Phonograph, 1890 - 1900 — Michael Devecka, Meagan Hennessey & Richard Martin, compilation producers; Michael Devecka, David Giovannoni, Michael Khanchalian & Richard Martin, mastering engineers (Various Artists) PRODUCTION, NON-CLASSICAL FIELD Best Engineered Album, Non-Classical: Are You Serious — Tchad Blake & David Boucher, engineers; Bob Ludwig, mastering engineer (Andrew Bird) Blackstar — David Bowie, Tom Elmhirst, Kevin Killen & Tony Dig In Deep — Ryan Freeland, engineer; Kim Rosen, mastering engineer (Bonnie Raitt) Hit N Run Phase Two — Booker T., Dylan Dresdow, Chris James, Prince & Justin Stanley, engineers; Dylan Dresdow, mastering engineer (Prince) Undercurrent — Shani Gandhi & Gary Paczosa, engineers; Paul Blakemore, mastering engineer (Sarah Jarosz) Producer Of The Year, Non-Classical: Benny Blanco Greg Kurstin Max Martin Nineteen85 Ricky Reed Best Remixed Recording: "Cali Coast (Psionics Remix)" — Josh Williams, remixer (Soul Pacific) "Heavy Star Movin' (staRo Remix)" — staRo, remixer (The Silver Lake Chorus) "Nineteen Hundred Eighty-Five (Timo Maas & James Teej Remix)" — Timo Maas & James Teej, remixers (Paul McCartney & Wings) "Only" (Kaskade X Lipless Remix)— Ryan Raddon, remixer (Ry X) "Tearing Me Up (RAC Remix)" — André Allen Anjos, remixer (Bob Moses) "Wide Open (Joe Goddard Remix)" — Joe Goddard, remixer (The Chemical Brothers) SURROUND SOUND FIELD Best Surround Sound Album: Dutilleux: Sur La Mêe Accord; Les Citations; Mystère De L'Instant & Timbres, Espace, Mouvement — Alexander Lipay & Dmitriy Lipay, surround mix engineers; Dmitriy Lipay, surround mastering engineer; Dmitriy Lipay, surround producer (Ludovic Morlot & Seattle Symphony) Johnson: Considering Matthew Shephard — Brad Michel, surround mix engineer; Brad Michel, surround mastering engineer; Robina G. Young, surround producer (Craig Hella Johnson & Conspirare) Maja S.K. Ratkje: And Sing ... — Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Maja S.K. Ratkje, Cikada & Oslo Sinfonietta) Primus & The Chocolate Factory — Les Claypool, surround mix engineer; Stephen Marcussen, surround mastering engineer; Les Claypool, surround producer (Primus) Reflections — Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene) PRODUCTION, CLASSICAL FIELD Best Engineered Album, Classical: Corigliano: The Ghosts Of Versailles — Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra) Dutilleux: Sur La Mêe Accord; Les Citations; Mystère De L'Instant & Timbres, Espace, Mouvement — Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot & Seattle Symphony) Reflections — Morten Lindberg, engineer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene) Shadow of Sirius — Silas Brown & David Frost, engineers; Silas Brown, Shostakovich: Under Stalin's Shadow - Symphonies Nos. 5, 8 & 9 — Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra) Producer of the Year, Classical: Blanton Alspaugh David Frost Marina A. Ledin, Victor Ledin Judith Sherman Robina G. Young CLASSICAL FIELD Best Orchestral Field: Bates: Works For Orchestra — Michael Tilson Thomas, conductor (San Francisco Symphony) Ibert: Orchestral Works — Neeme Järvi, conductor (Orchestre De La Suisse Romande) Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100 — Mariss Jansons, conductor (Royal Concertgebouw Orchestra) Rouse: Odna Zhizn; Symphonies 3 & 4; Prospero's Rooms — Alan Gilbert, conductor (New York Philharmonic) Shostakovich: Under Stalin's Shadow - Symphonies Nos. 5, 8 & 9 — Andris Nelsons, conductor (Boston Symphony Orchestra) Best Opera Recording: Corigliano: The Ghosts Of Versailles — James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus) Handel: Giulio Cesare — Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico) Higdon: Cold Mountain — Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program For Singers) Mozart: Le Nozze De Figaro — Yannick Nézet-Séguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra Of Europe; Vocalensemble Rastatt) Szymanowski: Król Roger — Antonio Pappano, conductor; Georgia Jarman, Mariusz Kwiecień & Saimir Pirgu; Jonathan Allen, producer (Orchestra Of The Royal Opera House; Royal Opera Chorus) Best Choral Performance: Himmerland — Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble) Janáček: Glagolitic Mass — Edward Gardner, conductor; Håkon Matti Skrede, chorus master (Susan Bickley, Gábor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir Of Collegium Musicum & Edvard Grieg Kor) Lloyd: Bonhoeffer — Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; The Crossing) Penderecki Conducts Penderecki, Volume 1 — Krzystof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir) Steinberg: Passion Week — Steven Fox, conductor (The Clarion Choir) Best Chamber Music/Small Ensemble Performance: Fitelberg: Chamber Works — ARC Ensemble Reflections — Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene Serious Business — Spektral Quartet Steve Reich — Third Coast Percussion Trios From Our Homelands — Lincoln Trio Best Classical Instrumental Solo: Adams, J.: Scheherazade.2 — Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony) Daugherty: Tales Of Hemingway — Zuill Bailey; Giancarlo Guerrero, conductor (Nashville Symphony) Dvorák: Violin Concerto & Romance; Suk: Fantasy —Christian Tetzlaff; John Storgårds, conductor (Helsinki Philharmonic Orchestra) Mozart: Keyboard Music, Vols. 8 & 9 — Kristian Bezuidenhout 1930's Violin Concertos, Vol. 2 — Gil Shaham; Stéphane Denève, conductor (The Knights & Stuttgart Radio Symphony Orchestra) Best Classical Solo Vocal Album: Monteverdi — Magdalena Kožená; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel) Mozart: The Weber Sisters — Sabine Devieilhe; Raphaël Pichon, conductor (Pygmalion) Schumann & Berg — Dorothea Röschmann; Mitsuko Uchida, accompanist Shakespeare Songs — Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker) Verismo — Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro Dell'Accademia Nazionale Di Santa Cecilia; Orchestra Dell'Accademia Nazionale Di Santa Cecilia) Best Classical Compendium: Daugherty: Tales Of Hemingway; American Gothic; Once Upon A Castle — Giancarlo Guerrero, conductor; Tim Handley, producer Gesualdo — Tõnu Kaljuste, conductor; Manfred Eicher, producer Vaughan Williams: Discoveries — Martyn Brabbins, conductor; Andrew Walton, producer Wolfgang: Passing Through — Judith Farmer & Gernot Wolfgang, producers Zappa: 200 Motels — The Suites — Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers Best Contemporary Classical Composition: Bates: Anthology Of Fantastic Zoology — Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra) Daugherty: Tales Of Hemingway — Michael Daugherty, composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony) Higdon: Cold Mountain — Jennifer Higdon, composer; Gene Scheer, librettist Theofanidis: Bassoon Concerto — Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky & Northwest Sinfonia) Winger: Conversations With Nijinsky — C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra) MUSIC VIDEO/FILM FIELD Best Music Video: "Formation" — Beyoncé "River" — Leon Bridges "Up & Up" — Coldplay "Gosh" — Jamie XX "Upside Down & Inside Out" — OK Go Best Music Film: I'll Sleep When I'm Dead — Steve Aoki The Beatles: Eight Days A Week The Touring Years — (The Beatles) Lemonade — Beyoncé The Music Of Strangers — Yo-Yo Ma & The Silk Road Ensemble American Saturday Night: Live From The Grand Ole Opry — (Various Artists)

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