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thegenderfucker · 3 months ago

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thank you for sharing this!!

text transcription (all typos and misreadings are mine):

cover:

Bad Sisters

Will their secrets be uncovered as the series returns?

double spread:

BAD ROMANCE

Will the Garveys' deadly secret be discovered as Grace ties the knot?

New comedy drama: Bad Sisters. From Wednesday 13 November, Apple TV+ (two episodes on We 13 Nov, then released weekly)

Having already given us TV hits Catastrophe and Motherlandn writer, director and actor Sharon Horgan scored a hat-trick in 2022 with Bad Sisters. Tackling the sensitive topic of domestic abuse with sincerity and a generous dose of Irish humour, the comedy drama was lapped up by viewers and critics alike, winning a clutch of awards including BAFTAs for Best Drama and Best Supporting Actress for Anne-Marie Duff. So it's no wonder that Horgan felt pressure when writing and filming Season 2, which lands on Apple TV+ this week. "It's amazing to know Bad Sisters was well-received, but putting out Season 2 is nerve-racking because people related to the sisters so well and you want them to connect with it in the same way," says Horgan, who plays eldest sister Eva Garvey, alongside Duff as abused widow Grace, Eva Birthistle as Ursula, Sarah Greene as Bibi, and Eve Hewson as Becka. The drama picks up two years on from the "accidental death" of Grace's abusive husband, John Paul, aka JP, after it was revealed in the finale that she'd actually strangled him to death with his pyjama top. We now find Grace getting married to new man Ian (Killing Eve's Owen McDonnell), but when the sisters are rocked by a sudden devastating tragedy, their bond is tested like never before. In an exclusive interview with TV&Satellite Week, Horgan, 54, tells us more?

What were the challenges of writing Season 2 of Bad Sisters?

Apart from Season 1's JP storyline and having this central, villainous character that everyone loved to hate, I know viewers really enjoyed being around this infectious group of women who are so full of passion and anger. So it was about keeping the sisters at the heart of a drama. I'd found with Catastrophe and Motherland that if you have great first season, doing it all again just feels weird. But once we'd decided on the storyline, all the sisters' voices came back naturally. I stopped worrying so much and that difficult "second album" started flowing.

Where do we find the Garvey sisters as the new episodes begin?

It's two years on, all the sisters have all moved on in their lives, and Grace is marrying a seemingly great man, Ian. But she's fragile. She's still living with the guilt of what she did and the impact it has on her conscience. Meanwhile Grace's new neighbor Roger [Michael Smiley] is wavering in his conviction about having helped Grace move JP's body. At the wedding, Roger's sister, Angelica [Fiona Shaw, see panel, right], sees the pair talking, and senses something's up. Things then start to fall apart quite quickly....

Is Angelica the common enemy uniting the sisters in Season 2?

Having JP as a villain in Season 1 was a big set of shoes to fill, so we knew we had to fill them in different ways. The police play an important role this time. When a discovery is made, season detective DI Fergal Loftus [Barry Ward] and his rookie partner, Una Houlihan [Thaddea Graham] are brilliant as foils for the sisters, alongside Angelica. And there's a bigger enemy that emerges over time.

What does Fiona Shaw bring to the role of Angelica?

Fiona was in our heads from the start. I wrote the part for her and she's perfect as Angelica. We needed someone who could watch these sisters and have a constant, internal battle with herself as to why they seem so free and able to live a life she's never been able to have. Angelica is very moral but also hypocritical - she likes messing with the sisters and sticking the knife in.

How was it working in your native Ireland?

Filming Grace's wedding in Ireland, the weather went from boiling hot to full-blown monsoon, so we were disappointed when we turned up in all our wedding finery and there's mud everywhere and it's pouring with rain. Our director, Dearbhla Wlash, gave this beautiful speech about how we were all together in this beautiful setting making a show we all love. So she buoyed us all while we're being whipped around by wind and rain!

Blurbs for the sisters:

Bibi (Sarah Greene) Outpsoken Bibi and wife Nora are undergoing IVF treatment in the hope of having second child. Will it be all happy families?

Eva (Sharon Horgan) Always looking out for her sisters, Eva's abotu to experience a new wave of feelings and emotions as she enters the menopause...

Grace (Anne-Marie Duff) Life's seemingly looking up for Grace as she gets hitched to Ian. But will she truly be able to put her traumatic past behind her?

Ursula (Eva Birthistle) On the surface, Ursula appears to be coping, but behing closed doors she's struggling and self-medicating. Will a tragedy tip her over the edge?

Becka (Eve Hewson) The youngest Garvey sister is loved-up with new boyfriend, Ben. But when ex Matt recalls the big secret he kept, will they reunite?

SUSPICIOUS MIND With screen credits that include Petunia Dursley in the Harry Potter films and spymaster Carolyn Martens in BBC1's Killing Eve, Fiona Shaw couldn't wait to add Bad Sisters to her already impressive CV when she joins the cast this week as the suspicious Angelica. "There's a lot less very good writing around, so it's such a relief when you read something from one of the brightest sparks in the industry, which Sharon Horgan is," enthuses Shaw, 66. "I loved Season 1 and this follow-up is almost more brave and more dangerous. Angelica is a nice person who has unfortunate character traits," she adds. "Angelica's annoying because she's lonely and wants to be friends with Grace and join the sisters' gang. The gap between Angelica's version of reality and actual real life is where comedy lies."

TV & Satellite's Article on Bad Sisters: Series 2

(I apologise for my carpet, the appalling lightning & for not scanning this in, I do not know how)

#bad sisters

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twentiethcenturymoviesandtv · 4 years ago

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M*A*S*H: A Product of the Times

At first, it doesn’t really seem all that obvious like M*A*S*H was a show of the 1970s.

Being set in the 1950s in a military hospital gave some leeway when it came to hairstyles and clothing (Mostly military uniforms). Even the discussion of the news and pop culture (although occasionally inaccurate for individual years) that happened around camp placed the show firmly in a period past, another in a string of television shows and films made in the 1970s that were set in the 1950s. Even some things, like attitudes towards women and the minority of non-white cast members seems to place the show so firmly in the 1950s, it might be hard to pick out that this is a ‘70s show.

But in reality, M*A*S*H might not have been made if not for the 1970s.

Coming on the heels of the 1960s, the ‘70s were quite a period of change. Following the Civil Rights movement, American culture was beginning to be more integrated. Disco was big on the scene, and styles were quickly becoming…a lot. The digital revolution began as video games and personal computers began to become a little more prevalent, and thanks to movie directors like George Lucas and Steven Spielberg, the blockbuster became a staple of every movie season. As for television, edutainment shows like Mr. Rogers’ Neighborhood and Sesame Street took off while Star Trek experienced its first reruns, gaining the audience it’d never had during it’s runtime. Game-shows experienced a comeback, and cop shows replaced the westerns as the most-watched action shows of the decade, and family dramas took up another chunk of the airwaves, while variety shows and increasingly daring sketch comedy filled up the rest.

Throughout all this, sitcoms like Happy Days enjoyed incredible success, along with more ‘issue based’ sitcoms like All in the Family, Good Times, and even The Mary Tyler Moore Show. And it is here that M*A*S*H sits, filling in a slot as one of the ‘issue’ based sitcoms…but why here? Why in the 1970s, could this show work the best?

As wild and crazy as American culture was becoming after the unrest of the 1960s, one thing held over that had not yet been resolved: America’s involvement in the Vietnam war.

Starting in November of 1955, and ending in April of 1975, the Vietnam conflict was one that occupied much of the world, and much of the American population’s minds. Between the protestors and people who genuinely supported the effort, the country was torn in two by people who thought we shouldn’t have gotten involved, and people who thought the opposite.

Why does this matter?

Because when the characters on M*A*S*H talk about war, they aren’t just talking about Korea. Indeed, they aren’t even just talking about Vietnam. They’re talking about all wars.

But it was very important that this was a show made during Vietnam, rather than before.

Before shows like The A-Team and Magnum P.I. began using the Vietnam conflict as part of backstories of characters, shows like M*A*S*H were still processing the American attitude during the war. Much like Korea, Vietnam was never officially declared ‘a war’, and was regarded as a ‘police action’. Much like Korea, a draft recruited soldiers, some just out of high school, into a conflict that blew up into a political struggle.

The difference was, in 1951, Americans were all for Korea. In 1972, the enthusiasm had waned. America turned against the war effort, and there lies exactly why M*A*S*H could not have been anything but a ‘70s ‘topical’ sitcom.

When you watch M*A*S*H and listen to the characters speak about the war, the attitude isn’t hard to pick out: anti-war, anti-US involvement, anti-military. They shouldn’t be here. They want to go home. They tried to duck the draft. One character spends almost all of his time on the show attempting to get discharged due to insanity. The only characters who are for this war are treated as antagonists.

This wasn’t the attitude of the Korean war. This was an attitude that could only have existed after Vietnam, if not specifically about Vietnam.

So, the show isn’t dated from a 1950s sense…but that does leave the question of whether or not it’s dated in a 1970s sense.

Ironically, being set in a decade not your own can actually help a series (or film) in the long run. By not showing contemporary life and creating a world that had already ‘disappeared’, these shows were able to not become relics of the time they were made. However, in the case of M*A*S*H, some might argue that the show, while groundbreaking and revolutionary in the 1970s, may not hold up so well today.

While not having the traditional troubles of hairstyles, technology and pop culture dating it, M*A*S*H does have a few different, more important issues that might render it a little uncomfortable to modern audiences. Let’s start with the women.

At first, it may seem almost impossible from a modern standpoint to approach a show where the only major female character is nicknamed Hot Lips, and even if you get past that enough to start the show from the beginning, it doesn’t get much better.

In early seasons of the show, Margaret Houlihan existed primarily as a woman defined by the men she had been with, her attractiveness to her male coworkers, and her stickler army attitude. Mostly serving as a partner-in-crime to her lover, Frank Burns (who was married), Margaret’s past involvements with many members of high-ranking army brass was a bit of a running joke, as was her level of desirability to her coworkers.

Thankfully, as the show matured, so did the writing for Margaret’s character. As time went on, Margaret ended up losing not only the nickname, but her intimate relationship with Frank Burns, and even the jokes about her previous relationships disappeared. After her marriage to Donald Penobscott, and subsequent divorce, Margaret remained unattached for the remainder of the series, as well as the only major female character in the show. (Pun intended.)

The other female characters appeared in small doses, most notably Nurse Kealani Kellye, a relatively prominent Japanese-Hawaiian nurse. Most of the nurses tended to be interchangeable, with small parts that (in early seasons especially) tended to rely on the men of the episode. While there were exceptions (notably “The Nurses”), especially as the show went on, for the most part, the focus of the show tended to be on the male characters.

And it was even worse for characters of color.

Of the main cast, only Klinger (Lebonese) and the aforementioned Nurse Kelleye were not Caucasian. Early on in the show, a black character by the name of Spearchucker Jones was omitted by the end of the second season (due to writers mistakenly believing that there were no black doctors in the Korean war.

There are other things that date the show: Klinger’s cross-dressing as a gag would likely be looked upon more unfavorably today, as would a few instances of sexual harassment looked over for comedy’s sake. Korean characters were often portrayed (especially in early season) in rather stereotypical fashions, and were never played by actors of actual Korean descent (though admittedly, there were not many Korean actors in Hollywood at the time).

In other words, the show wasn’t perfect. And it certainly was a product of the 1970s.

But, the good news is, it’s not all bad.

M*A*S*H was, overall, a fairly progressive show for its day. Despite its problems writing women, by the end of the show, Margaret Houlihan was one of the best-developed female characters on television. The writing for Korean characters improved drastically by the eleventh season, and Klinger’s ‘crossdressing’ gag was never played at his own expense.

And, more importantly? The characters, attitudes, and interactions, for the most part, ring just as truly now as they did then.

M*A*S*H was definitely fair for its day. For the 1970s, it was up-to-date, discussing attitudes and problems that were prevalent for the time, and slowly improving in the areas it was somewhat lacking in. It’s not really a surprise that the show still has a fanbase (and a young one, at that) to this day, full of fans who can recognize the problematic elements of the show, appreciate it’s growth, and enjoy its characters and situations to this day. These characters still captivate people just as well as they did in 1972, a primary reason that this show, despite its occasional differences from modern ideas, remains so beloved even today.

Thank you guys so much for reading! If you have a thought, suggestion, or question, don’t be afraid to leave a comment, I’d love to hear from you. Please join us next time as we look at the facets of M*A*S*H. I hope to see you there!

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bongaboi · 6 years ago

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Grammy Awards 2019: The List, Part 3

Latin

Best Latin Pop Album

Sincera – Claudia Brant

Prometo – Pablo Alborán

Musas, Vol. 2 – Natalia Lafourcade

2:00 AM – Raquel Sofía

Vives – Carlos Vives

Best Latin Rock, Urban or Alternative Album

Aztlán – Zoé

Claroscura – Aterciopelados

COASTCITY – COASTCITY

Encanto Tropical – Monsieur Periné

Gourmet – Orishas

Best Regional Mexican Music Album (Including Tejano)

¡México Por Siempre! – Luis Miguel

Primero Soy Mexicana – Ángela Aguilar

Mitad Y Mitad – Calibre 50

Totalmente Juan Gabriel Vol. II – Aida Cuevas

Cruzando Borders – Los Texmaniacs

Leyendas de Mi Pueblo – Mariachi Sol de Mexico

Best Tropical Latin Album

Anniversary – Spanish Harlem Orchestra

Pa' Mi Gente – Charlie Aponte

Legado – Formell y Los Van Van

Orquesta Akokán – Orquesta Akokán

Ponle Actitud – Felipe Peláez

American Roots Music

Best American Roots Performance

"The Joke" – Brandi Carlile

"Kick Rocks" – Sean Ardoin

"St. James Infirmary Blues" – Jon Batiste

"All on My Mind" – Anderson East

"Last Man Standing" – Willie Nelson

Best American Roots Song

"The Joke"

"All the Trouble"

"Build a Bridge"

"Knockin' on Your Screen Door"

"Summer's End"

Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)

Waylon Payne, Lee Ann Womack & Adam Wright, songwriters (Lee Ann Womack)

Jeff Tweedy, songwriter (Mavis Staples)

Pat McLaughlin & John Prine, songwriters (John Prine)

Best Americana Album

By the Way, I Forgive You – Brandi Carlile

Things Have Changed – Bettye LaVette

The Tree of Forgiveness – John Prine

The Lonely, the Lonesome & the Gone – Lee Ann Womack

One Drop of Truth – The Wood Brothers

Best Bluegrass Album

The Travelin' McCourys – The Travelin' McCourys

Portraits in Fiddles – Mike Barnett

Sister Sadie II – Sister Sadie

Rivers and Roads – The Special Consensus

North of Despair – Wood & Wire

Best Traditional Blues Album

The Blues Is Alive and Well – Buddy Guy

Something Smells Funky 'Round Here – Elvis Bishop's Big Fun Trio

Benton County Relic – Cedric Burnside

No Mercy in This Land – Ben Harper and Charlie Musselwhite

Don't You Feel My Leg (The Naughty Bawdy Blues of Blue Lu Barker) – Maria Muldaur

Best Contemporary Blues Album

Please Don't Be Dead – Fantastic Negrito

Here in Babylon – Teresa James and the Rhythm Tramps

Cry No More – Danielle Nicole

Out of the Blues – Boz Scaggs

Victor Wainwright and the Train – Victor Wainwright and the Train

Best Folk Album

All Ashore – Punch Brothers

Whistle Down the Wind – Joan Baez

Black Cowboys – Dom Flemons

Rifles & Rosary Beads – Mary Gauthier

Weed Garden – Iron & Wine

Best Regional Roots Music Album

No 'Ane'i – Kalani Pe'a

Kreole Rock and Soul – Sean Ardoin

Spyboy – Cha Wa

Aloha from Na Hoa – Na Hoa

Mewasinsational: Cree Round Dance Songs – Young Spirit

Reggae

Best Reggae Album

44/876 – Sting & Shaggy

As the World Turns – Black Uhuru

Reggae Forever – Etana

Rebellion Rises – Ziggy Marley

A Matter of Time – Protoje

World Music

Best World Music Album

Freedom – Soweto Gospel Choir

Deran – Bombino

Fenfo – Fatoumata Diawara

Black Times – Seun Kuti & Egypt 80

Yiddish Glory: The Lost Songs of World War II, various artists

Children's

Best Children's Album

All the Sounds – Lucy Kalantari & The Jazz Cats

Building Blocks – Tim Kubart

Falu's Bazaar – Falu

Giants of Science – The Pop Ups

The Nation of Imagine – Frank & Deane

Spoken Word

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

Faith: A Journey for All – Jimmy Carter

Accessory to War – Courtney B. Vance

Calypso – David Sedaris

Creative Quest – Questlove

The Last Black Unicorn – Tiffany Haddish

Comedy

Best Comedy Album

Equanimity & The Bird Revelation – Dave Chappelle

Annihilation – Patton Oswalt

Noble Ape – Jim Gaffigan

Standup for Drummers – Fred Armisen

Tamborine – Chris Rock

Musical Theater

Best Musical Theater Album

The Band's Visit – Etai Benson, Adam Kantor, Katrina Lenk & Ari'el Stachel, principal soloists; Dean Sharenow & David Yazbek, producers; David Yazbek, composer & lyricist (Original Broadway Cast)

Carousel – Renée Fleming, Alexander Gemignani, Joshua Henry, Lindsay Mendez & Jessie Mueller, principal soloists; Steven Epstein, producer (Richard Rodgers, composer; Oscar Hammerstein II, lyricist) (2018 Broadway Cast)

Jesus Christ Superstar Live in Concert – Sara Bareilles, Alice Cooper, Ben Daniels, Brandon Victor Dixon, Erik Grönwall, Jin Ha, John Legend, Norm Lewis & Jason Tam, principal soloists; Harvey Mason Jr., producer (Andrew Lloyd Webber, composer; Tim Rice, lyricist) (Original Television Cast)

My Fair Lady – Lauren Ambrose, Norbert Leo Butz & Harry Hadden-Paton, principal soloists; Andre Bishop, Van Dean, Hattie K. Jutagir, David Lai, Adam Siegel & Ted Sperling, producers (Frederick Loewe, composer; Alan Jay Lerner, lyricist) (2018 Broadway Cast)

Once on This Island – Phillip Boykin, Merle Dandridge, Quentin Earl Darrington, Hailey Kilgore, Kenita R. Miller, Alex Newell, Isaac Powell & Lea Salonga, principal soloists; Lynn Ahrens, Hunter Arnold, Ken Davenport, Stephen Flaherty & Elliot Scheiner, producers (Stephen Flaherty, composer; Lynn Ahrens, lyricist) (New Broadway Cast)

Music for Visual Media

Best Compilation Soundtrack for Visual Media

The Greatest Showman – Hugh Jackman (& Various Artists)

Call Me by Your Name – (Various Artists)

Deadpool 2 – (Various Artists)

Lady Bird – (Various Artists)

Stranger Things – (Various Artists)

Alex Lacamoire, Benj Pasek, Justin Paul & Greg Wells, compilation producers

Luca Guadagnino, compilation producer; Robin Urdang, music supervisor

David Leitch & Ryan Reynolds, compilation producers; John Houlihan, music supervisor

Timothy J. Smith, compilation producer; Michael Hill & Brian Ross, music supervisors

Matt Duffer, Ross Duffer, Timothy J. Smith, compilation producer; Nora Felder, music supervisor

Best Score Soundtrack for Visual Media

Black Panther – Ludwig Göransson, composer

Blade Runner 2049 – Benjamin Wallfisch & Hans Zimmer, composers

Coco – Michael Giacchino, composer

The Shape of Water – Alexandre Desplat, composer

Star Wars: The Last Jedi – John Williams, composer

Best Song Written for Visual Media

"Shallow" (from A Star Is Born)

"All the Stars" (from Black Panther)

"Mystery of Love" (from Call Me by Your Name)

"Remember Me" (from Coco)

"This Is Me" (from The Greatest Showman)

Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew Wyatt, songwriters (Lady Gaga & Bradley Cooper)

Kendrick Duckworth, Solána Rowe, Alexander William Shuckburgh, Mark Anthony Spears & Anthony Tiffith, songwriters (Kendrick Lamar & SZA)

Sufjan Stevens, songwriter (Sufjan Stevens)

Kristen Anderson-Lopez & Robert Lopez, songwriters (Miguel featuring Natalia Lafourcade)

Benj Pasek & Justin Paul, songwriters (Keala Settle & The Greatest Showman Ensemble)

Composing

Best Instrumental Composition

"Blut Und Boden (Blood and Soil)"

"Chrysalis"

"Infinity War"

"Mine Mission"

"The Shape of Water"

Terence Blanchard, composer (Terence Blanchard)

Jeremy Kittel, composer (Kittel & Co.)

Alan Silvestri, composer (Alan Silvestri)

John Powell & John Williams, composers (John Powell & John Williams)

Alexandre Desplat, composer (Alexandre Desplat)

Arranging

Best Arrangement, Instrumental or A Cappella

"Stars and Stripes Forever"

"Batman Theme (TV)"

"Change the World"

"Madrid Finale"

"The Shape of Water"

John Daversa, arranger (John Daversa Big Band featuring DACA Artists)

Randy Waldman & Justin Wilson, arrangers (Randy Waldman featuring Wynton Marsalis)

Mark Kibble, arranger (Take 6)

John Powell, arranger (John Powell)

Alexandre Desplat, arranger (Alexandre Desplat)

Best Arrangement, Instruments and Vocals

"Spiderman Theme"

"It Was a Very Good Year"

"Jolene"

"Mona Lisa"

"Niña"

Mark Kibble, Randy Waldman & Justin Wilson, arrangers (Randy Waldman featuring Take 6 & Chris Potter)

Matt Rollings & Kristin Wilkinson, arrangers (Willie Nelson)

Dan Pugach & Nicole Zuraitis, arrangers (Dan Pugach)

Vince Mendoza, arranger (Gregory Porter)

Gonzalo Grau, arranger (Magos Herrera & Brooklyn Rider)

Packaging

Best Recording Package

Masseduction

Be the Cowboy

Love Yourself: Tear

The Offering

Well Kept Thing

Willo Perron, art director (St. Vincent)

Mary Banas, art director (Mitski)

HuskyFox, art director (BTS)

Qing-Yang Xiao, art director (The Chairman)

Adam Moore, art director (Foxhole)

Best Boxed or Special Limited Edition Package

Squeeze Box: The Complete Works of "Weird Al" Yankovic

Appetite For Destruction (Locked N' Loaded Box)

I'll Be Your Girl

Pacific Northwest '73–'74: The Complete Recordings

Too Many Bad Habits

Meghan Foley, Annie Stoll & Al Yankovic, art directors ("Weird Al" Yankovic)

Arian Buhler, Charles Dooher, Jeff Fura, Scott Sandler & Matt Taylor, art directors (Guns N' Roses)

Carson Ellis, Jeri Heiden & Glen Nakasako, art directors (The Decemberists)

Lisa Glines, Doran Tyson & Roy Henry Vickers, art directors (Grateful Dead)

Sarah Dodds & Shauna Dodds, art directors (Johnny Nicholas)

Notes

Best Album Notes

Voices of Mississippi: Artists and Musicians Documented by William Ferris

Alpine Dreaming: The Helvetia Records Story, 1920-1924

4 Banjo Songs, 1891-1897: Foundational Recordings of America's Iconic Instrument

The 1960 Time Sessions

The Product of Our Souls: The Sound and Sway of James Reese Europe's Society Orchestra

Trouble No More: The Bootleg Series Vol. 13/1979-1981 (Deluxe Edition)

David Evans, album notes writer (Various artists)

James P. Leary, album notes writer (Various artists)

Richard Martin & Ted Olson, album notes writer (Charles A. Asbury)

Ben Ratliff, album notes writer (Sonny Clark Trio)

David Gilbert, album notes writer (Various artists)

Amanda Petrusich, album notes writer (Bob Dylan)

Historical

Best Historical Album

Voices of Mississippi: Artists and Musicians Documented by William Ferris

Any Other Way

At the Louisiana Hayride Tonight...

Battleground Korea: Songs and Sounds of America's Forgotten War

A Rhapsody in Blue: The Extraordinary Life of Oscar Levant

William Ferris, April Ledbetter & Steven Lance Ledbetter, compilation producers; Michael Graves, mastering engineer (Various artists)

Rob Bowman, Douglas McGowan, Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton, mastering engineer (Jackie Shane)

Martin Hawkins, compilation producer; Christian Zwarg, mastering engineer (Various artists)

Hugo Keesing, compilation producer; Christian Zwarg, mastering engineer (Various artists)

Robert Russ, compilation producer; Andreas K. Meyer & Rebekah Wineman, mastering engineers (Oscar Levant)

Production, Non-Classical

Best Engineered Album, Non-Classical

Colors

All the Things That I Did and All the Things That I Didn't Do

Earthtones

Head Over Heels

Voicenotes

Julian Burg, Serban Ghenea, David "Elevator" Greenbaum, John Hanes, Beck Hansen, Greg Kurstin, Florian Lagatta, Cole M.G.N., Alex Pasco, Jesse Shatkin, Darrell Thorp & Cassidy Turbin, engineers; Chris Bellman, Tom Coyne, Emily Lazar & Randy Merrill, mastering engineers (Beck)

Ryan Freeland & Kenneth Pattengale, engineers; Kim Rosen, mastering engineer (The Milk Carton Kids)

Robbie Lackritz, engineer; Philip Shaw Bova, mastering engineer (Bahamas)

Nathaniel Alford, Jason Evigan, Chris Galland, Tom Gardner, Patrick "P-Thugg" Gemayel, Serban Ghenea, John Hanes, Tony Hoffer, Derek Keota, Ian Kirkpatrick, David Macklovitch, Amber Mark, Manny Marroquin, Vaughn Oliver, Chris "TEK" O'Ryan, Morgan Taylor Reid & Gian Stone, engineers; Chris Gehringer & Michelle Mancini, mastering engineers (Chromeo)

Manny Marroquin & Charlie Puth, engineers; Dave Kutch, mastering engineer (Charlie Puth)

Producer of the Year, Non-Classical

Pharrell Williams

Boi-1da

Larry Klein

Linda Perry

Kanye West

"Apeshit" (The Carters)

Man of the Woods (Justin Timberlake)

No One Ever Really Dies (N.E.R.D)

"Stir Fry" (Migos)

Sweetener (Ariana Grande)

"Be Careful" (Cardi B)

"Diplomatic Immunity" (Drake)

"Friends" (The Carters)

"God's Plan" (Drake)

"Heard About Us" (The Carters)

"Lucky You" (Eminem featuring Joyner Lucas)

"Mob Ties" (Drake)

"No Limit" (G-Eazy featuring ASAP Rocky & Cardi B)

"All These Things" (Thomas Dybdahl)

Anthem (Madeleine Peyroux)

The Book of Longing (Luciana Souza)

"Can I Have It All" (Thomas Dybdahl)

Junk (Hailey Tuck)

"Look At What We've Done" (Thomas Dybdahl)

Meaning to Tell Ya (Molly Johnson)

"Harder, Better, Faster, Stronger" (Willa Amai)

Served Like a Girl (Various artists)

28 Days in the Valley (Dorothy)

Daytona (Pusha T)

Kids See Ghosts (Kids See Ghosts)

K.T.S.E. (Teyana Taylor)

Nasir (Nas)

Ye (Kanye West)

Best Remixed Recording

"Walking Away" (Mura Masa Remix)

"Audio" (CID Remix)

"How Long" (EDX's Dubai Skyline Remix)

"Only Road" (Cosmic Gate Remix)

"Stargazing" (Kaskade Remix)

Alex Crossan, remixer (Haim)

CID, remixer (LSD)

Maurizio Colella, remixer (Charlie Puth)

Stefan Bossems & Claus Terhoeven, remixers (Gabriel & Dresden featuring Sub Teal)

Kaskade, remixer (Kygo featuring Justin Jesso)

Production, Immersive Audio

Best Immersive Audio Album

Eye in the Sky: 35th Anniversary Edition

Folketoner

Seven Words from the Cross

Sommerro: Ujamaa & The Iceberg

Symbol

Alan Parsons, surround mix engineer; Dave Donnelly, PJ Olsson & Alan Parsons, surround mastering engineers; Alan Parsons, surround producer (The Alan Parsons Project)

Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Anne Karin Sundal-Ask & Det Norske Jentekor)

Daniel Shores, surround mix engineer; Daniel Shores, surround mastering engineer; Dan Merceruio, surround producer (Matthew Guard & Skylark)

Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Ingar Heine Bergby, Trondheim Symphony Orchestra & Choir)

Prashant Mistry & Ronald Prent, surround mix engineers; Darcy Proper, surround mastering engineer; Prashant Mistry & Ronald Prent, surround producers (Engine-Earz Experiment)

Production, Classical

Best Engineered Album, Classical

Shostakovich: Symphonies Nos. 4 & 11

Bates: The (R)evolution of Steve Jobs

Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1

John Williams at the Movies

Liquid Melancholy: Clarinet Music of James M. Stephenson

Visions and Variations

Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds)

Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

Producer of the Year, Classical

Blanton Alspaugh

David Frost

Elizabeth Ostrow

Judith Sherman

Dirk Sobotka

Arnesen: Infinity - Choral Works (Joel Rinsema & Kantorei)

Aspects of America (Carlos Kalmar & Oregon Symphony)

Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)

Gordon, R.: The House Without a Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Gran Opera Juvenile Chorus & Houston Grand OperaOrchestra)

Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)

Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)

Music of Fauré, Buide & Zemlinsky (Trio Séléné)

Paterson: Three Way - A Trio of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)

Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade to Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)

Mirror in Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)

Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)

Presentiment (Orion Weiss)

Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus)

Bates: The (R)evolution of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

Beethoven Unbound (Llŷr Williams)

Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)

Bolcom: Piano Music (Various Artists)

Del Tredici: March to Tonality (Mark Peskanov & Various Artists)

Love Comes in at the Eye (Timothy Jones, Stephanie Sant'Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt)

Meltzer: Variations on a Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)

Mendelssohn: Complete Works for Cello and Piano (Marcy Rosen & Lydia Artymiw)

New Music for Violin and Piano (Julie Rosenfeld & Peter Miyamoto)

Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)

Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)

Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)

Music of the Americas (Andrés Orozco-Estrada & Houston Symphony)

Classical

Best Orchestral Performance

Shostakovich: Symphonies Nos. 4 & 11

Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1

Nielsen: Symphony No. 3 & Symphony No. 4

Ruggles, Stucky & Harbison: Orchestral Works

Schumann: Symphonies Nos. 1-4

Andris Nelsons, conductor (Boston Symphony Orchestra)

Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)

Thomas Dausgaard, conductor (Seattle Symphony)

David Alan Miller, conductor (National Orchestral Institute Philharmonic)

Michael Tilson Thomas, conductor (San Francisco Symphony)

Best Opera Recording

Bates: The (R)evolution Of Steve Jobs

Adams: Doctor Atomic

Lully: Alceste

Strauss, R.: Der Rosenkavalier

Verdi: Rigoletto

Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edward Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra)

John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (The BBC Symphony Orchestra; BBC Singers)

Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur)

Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Constantine Orbelian, conductor; Francesco Demuro, Dmitri Hvorostovsky & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir)

Best Choral Performance

McLoskey: Zealot Canticles

Chesnokov: Teach Me Thy Statutes

Kastalsky: Memory Eternal

Rachmaninov: The Bells

Seven Words From The Cross

Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing)

Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir)

Steven Fox, conductor (The Clarion Choir)

Mariss Jansons, conductor; Peter Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks)

Matthew Guard, conductor (Skylark)

Best Chamber Music/Small Ensemble Performance

Anderson, Laurie: Landfall – Laurie Anderson & Kronos Quartet

Beethoven, Shostakovich & Bach – The Danish String Quartet

Blueprinting – Aizuri Quartet

Stravinsky: The Rite of Spring Concerto for Two Pianos – Leif Ove Andsnes & Marc-André Hamelin

Visions And Variations – A Far Cry

Best Classical Instrumental Solo

Kernis: Violin Concerto – James Ehnes

Bartók: Piano Concerto No. 2 – Yuja Wang

Biber: The Mystery Sonatas – Christina Day Martinson

Bruch: Scottish Fantasy, Op. 46; Violin Concerto No. 1 In G Minor, Op. 26

Glass: Three Pieces In The Shape of A Square

Ludovic Morlot, conductor (Seattle Symphony)

Simon Rattle, conductor (Berliner Philharmoniker)

Martin Pearlman, conductor (Boston Baroque)

Joshua Bell (The Academy Of St. Martin In The Fields)

Craig Morris

Best Classical Solo Vocal Album

Songs of Orpheus: Monteverdi, Caccini, d'India & Landi – Karim Sulayman

ARC – Anthony Roth Costanzo

The Handel Album – Philippe Jaroussky

Mirages – Sabine Devieilhe

Schubert: Winterreise – Randall Scarlata

Jeannette Sorrell, conductor; Apollo's Fire, ensembles

Jonathan Cohen, conductor (Les Violons Du Roy)

Artaserse, ensemble

François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles)

Gilbert Kalish, accompanist

Best Classical Compendium

Fuchs: Piano Concerto 'Spiritualist'; Poems Of Life; Glacier; Rush

Gold

The John Adams Edition

John Williams at the Movies

Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi

JoAnn Falletta, conductor; Tim Handley, producer

The King's Singers; Nigel Short, producer

Simon Rattle, conductor; Christoph Franke, producer

Jerry Junkin, conductor; Donald J. McKinney, producer

Peter Oundjian, conductor; Blanton Alspaugh, producer

Best Contemporary Classical Composition

Kernis: Violin Concerto

Bates: The (R)evolution of Steve Jobs

Du Yun: Air Glow

Heggie: Great Scott

Mazzoli: Vespers for Violin

Aaron Jay Kernis, composer (James Ehnes, Ludovic Morlot & Seattle Symphony)

Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edward Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

Du Yun, composer (International Contemporary Ensemble)

Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)

Missy Mazzoli, composer (Olivia De Prato)

Music Video/Film

Best Music Video

"This Is America" – Childish Gambino

"Apeshit" – The Carters

"I'm Not Racist" – Joyner Lucas

"Pynk" – Janelle Monáe

"Mumbo Jumbo" – Tierra Whack

Hiro Murai, video directors; Ibra Ake, Jason Cole & Fam Rothstein, video producers

Ricky Saiz, video director; Mélodie Buchris, Natan Schottenfels & Erinn Williams, video producers

Joyner Lucas & Ben Proulx, video directors; Joyner Lucas, video producer

Emma Westenburg, video director; Justin Benoliel & Whitney Jackson, video producers

Marco Prestini, video director; Sara Nassim, video producer

Best Music Film

Quincy – Quincy Jones

Life in 12 Bars – Eric Clapton

Whitney – (Whitney Houston)

Itzhak – Itzhak Perlman

The King – (Elvis Presley)

Alan Hicks & Rashida Jones, video directors; Paula DuPré Pesmen, video producer

Lili Fini Zanuck, video director; John Battsek, Scooter Weintraub, Larry Yelen & Lili Fini Zanuck, video producers

Kevin Macdonald, video director; Jonathan Chinn, Simon Chinn & Lisa Erspamer, video producers

Alison Chernick, video director; Alison Chernick, video producer

Eugene Jarecki, video director; Christopher Frierson, Georgina Hill, David Kuhn & Christopher St. John, video producers

#2019 #grammy awards

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iffltd · 7 years ago

Photo

s t a r r i n g

Charlize Theron

John Goodman James MacAvoy Sofia Boutella Toby Jones

original music by Tyler Bates music supervisor John Houlihan director of photography Jonathan Sela editor Elisabet Ronaldscoditir production designer David Scheunemann casting Zsolt Csutak Marisoi Roncali Mary Vernieu art director Zsuzsa Kismarty-Lechner Tibor Lazar produced by Peter Scherwin and Charlize Theron screenplay by Kurt Johnstad based on the ONI graphic novel series “The Coldest City” written by Antony Johnston illustrated by Sam Hart directed by David Leitch

music includes: “Cat People (Putting Out Fire)” and “Moorage Daydream” - David Bowie, “Major Tom (Vollig Losgelost)” - Peter Schilling, “Blue Monday” - Health, “ “I Ran (So Far Away)” - Flock of Seagulls, “99 Luftballons” - Nena, “Father Figure” - George Michael, “Der Kommissar” - After the Fire, “London Calling” - The Clash, “Under Pressure” - David Bowie with Freddie Mercury and Queen, “Personal Jesus” and “Behind the Wheel” - Depeche Mode, “Voices Carry” - Til Tuesday, “Stigmata” - Ministry, “Just Like Heaven” - The Cure, “Hungry Like the Wolf” - Duran Duran, “The Politics of Dancing” - Re-Flex, “Cities in the Dust” - Siouxsie and the Banshees, “One Thing Leads to Another” - The Fixx, “Hey, Bulldog” - The Beatles, “Sweet Dreams (Are Made of These” - The Eurythmics, “Der Kommissar” - Falco,”The Killing Moon” - Echo and the Bunneymen

version 2 (expanded)

#Atomic Blonde #Charlize Theron #Sofia Boutelia #james macavoy

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kansascityhappenings · 5 years ago

Text

‘Benson,’ ‘Star Trek’ actor René Auberjonois has died at 79

LOS ANGELES — René Auberjonois, a prolific actor best known for his roles on the television shows “Benson” and “Star Trek: Deep Space Nine” and his part in the 1970 film “M.A.S.H.” playing Father Mulcahy, has died. He was 79.

The actor died Sunday at his home in Los Angeles of metastatic lung cancer, his son Rèmy-Luc Auberjonois told The Associated Press.

René Auberjonois worked constantly as a character actor in several golden ages, from the dynamic theater of the 1960s to the cinema renaissance of the 1970s to the prime period of network television in the 1980s and ’90s — and each generation knew him for something different.

For film fans of the 1970s, he was Father John Mulcahy, the military chaplain who played straight man to the doctors’ antics in “M.A.S.H.” It was his first significant film role and the first of several for director Robert Altman.

For sitcom watchers of the 1980s, he was Clayton Runnymede Endicott III, the hopelessly highbrow chief of staff at a governor’s mansion on “Benson,” the ABC series whose title character was a butler played by Robert Guillaume.

And for sci-fi fans of the 1990s and convention-goers ever since, he was Odo, the shape-shifting Changeling and head of space-station security on “Star Trek: Deep Space Nine.”

“I am all of those characters, and I love that,” Auberjonois said in a 2011 interview with the “Star Trek” website. “I also run into people, and they think I’m their cousin or their dry cleaner. I love that, too.”

Auberjonois was born in New York in 1940, the son of Fernand Auberjonois, Swiss-born foreign correspondent for U.S. newspapers, and the grandson of a Swiss post-impressionist painter also named René Auberjonois.

The younger René Auberjonois was raised in New York, Paris, and London, and for a time lived with his family in an artists’ colony in Rockland County, New York, whose residents included the actors John Houseman, Helen Hayes and Burgess Meredith.

After graduating from college at Pittsburgh’s Carnegie Institute of Technology, now Carnegie Mellon, Auberjonois hopped around the country joining theater companies, eventually landing three roles on Broadway in 1968, including playing the Fool in a long-running version of King Lear.

The following year he would play Sebastian Baye opposite Katharine Hepburn in “Coco,” a play on the life of designer Coco Chanel that would earn him a Tony for best actor in a leading role in a musical.

He would later see Tony nominations for 1973’s “The Good Doctor,” 1984’s “Big River,” and 1989’s “City of Angels.”

In 1970, Auberjonois began his run with Altman, playing Mulcahy in “M.A.S.H.”

In his most famous exchange from the movie, Sally Kellerman’s Margaret Houlihan wonders how such a degenerate doctor as Donald Sutherland’s Hawkeye Pierce could reach a position of responsibility in the U.S. Army.

A bible-reading Auberjonois responds, deadpan: “He was drafted.”

“I actually made that line up when we were rehearsing the scene,” Auberjonois said on the podcast “The Gist” in 2016. “And it became a kind of an iconic line for the whole film.”

The same year he played an off-the-wall ornithologist in Altman’s “Brewster McCloud,” played a saloonkeeper alongside Warren Beatty in the director’s western “McCabe & Mrs. Miller” in 1971 and appeared in Altman’s “Images” in 1972.

He spent much of the rest of the 1970s doing guest spots on TV shows before joining the cast of “Benson” in its second season in 1980, where he would remain for the rest of the show’s seven seasons, playing the patrician political adviser and chronic hypochondriac Endicott.

Much of his later career was spent doing voices for animation, most memorably as the French chef who sings the love song to fish-killing “Les Poissons” in Disney’s 1989 “The Little Mermaid.”

He played Odo on “Deep Space Nine” from 1993 until 1998 and became a regular at “Star Trek” conventions, where he raised money for Doctors Without Borders and signed autographs with a drawing of Odo’s bucket, where the character would store himself when he returned to his natural gelatinous state.

Auberjonois was also a regular on the ABC law-firm dramedy “Boston Legal” from 2004 to 2008.

Late in his career, Auberjonois would work with independent filmmakers including the artful director Kelly Reichardt, for whom he appeared in 2016’s “Certain Women” and 2019’s “First Cow,” his final role.

In addition to his son, he is survived by his wife of 56 years, writer Judith Auberjonois; sisters Marie-Laure Degener and Anne Auberjonois; daughter Tessa Auberjonois; son-in-law Adrian Latourelle, daughter-in-law Kate Nowlin and three grandchildren.

from FOX 4 Kansas City WDAF-TV | News, Weather, Sports https://fox4kc.com/2019/12/08/benson-star-trek-actor-rene-auberjonois-has-died-at-79/

from Kansas City Happenings https://kansascityhappenings.wordpress.com/2019/12/09/benson-star-trek-actor-rene-auberjonois-has-died-at-79/

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