#this will be a different universe from the bootleg squad

[chargetheintruder]

I've been holding back for a bit.

This has been mainly to save my strength for things that matter, because my health's no good, and this has been a busy month (lots and lots of packages to snag). And now a few items have come to my attention as being urgent. Bear with me, I'll try to keep to the point.

Edit: I cut and pasted the aggro/political stuff so that this post isn't such a rude shitpost. Not that I think most of Tumblr is that conservative, it's just that the tonal whiplash was a bit much even by my own pathetic standards, my apologies.

Oh, and this happens. No, not my being aggressive when I'm aggressive, but this Media thing. Many of these bought, paid-for and kept hacks either can't (can not, as in are unable to) or won't (will not, as in refuse to) distinguish fantasy from reality. Do Dark Mirror stories make for some fascinating fiction for me? Sure. Does that mean I want to live there? Absolutely not.

But let's get back to this . . .

--In other news? Not that anyone's going to see this, but for real, Mr. James Gunn? You there, the guy doing a Superman film currently? I'm not sure what to make of your behavior over there on that thing Elon Musk made out of Twitter, okay? Because I thought for sure you were a nerd who knew his stuff and knew the difference between a Bizarro (Clone of Superman) and a Dark Mirror Universe Superman. Among other things. So I'll just keep it simple.

Based on the earliest evidence from your casting of guest heroes, I'm guessing that when it comes to Formerly Twitter, you're that guy, flipping the coin and saying, "Heads I tell the Truth . . . aw shucks, gotta lie some more," because it superficially looks like you're making a Superman (and a few bros of his) versus The Crime Syndicate movie (or two). And all I have to say to that is: Lean into it. LEAN INTO IT. If you're not doing that it'll be the slickest deception ever.

And if you ARE doing that, and you have to go Kill Bill on it and make it two tightly released volumes, please do that. Really, your whole superhero thing so far (based on your Guardians work and your work on The Suicide Squad) suggests that big honking clusterfucks like that are your jam. :) Just say something like "The Justice League's off-world currently, something's gone bad to screw Clark out of most of his powers, and he's having to scramble to get what help he can."

Full Disclosure: I am biased here. I admit I might be a fan of the Syndicate here. The concept of 1980s Yuppie Scum (and worse) getting together as a Gangsta League, that just hits the twisted buttons in all sorts of places. If I could draw worth a damn and still had my health I might do a bootleg comic or something called Challenge of the Super-Fiends, featuring the Syndicate, just so I could see my bad guys doing bad things more than once a decade. But hey.

Edit: And now for the political stuff for those who care about it, and only those. Sorry to burden the rest of you.

--This so-called "debate". This Media-orchestrated alt-reich mugging is more like it. No, who the fuck wants a proper debate with "no notes, no props" as their rules? No professional public speaker and/or politician since 1900 has debated this way, entirely from memory, for good reason. IT'S HARD, even when you're young and in your right mind. Way to throw Trump and Traitor Party YET ANOTHER fucking softball, you bought and paid-for psychos. No really, we get it, competence bores you, but you really WANT society to be ransacked and ruined by every petty fascist ever? Really? Fuck this noise, vote BLUE, fuck these experts, fuck all traitors, like the Trumps.

--And YES, I do have a PLAN for this godawful election in these so-called United States. It's still too early to discuss it in detail but I am going to need help with it--my health is too bad to do it all myself, even if I had the money to do so. No, it doesn't involve firearms (directly). We won't have to do much more than make well-timed phone calls, by the hundred, from burner phones.

And that's it for now, I might add more to this if it comes back to me tonight. Thanks for your patience.

[prvtbugsbuggins]

I got several fics planned this year, including finishing Brand New Colony, SCP: Blood Gulch, and another Caboose anthology.

However I want to be completely self indulgent and write a little self insert fic with Bugs doing bug things cause goddamnit I want to. I want to have my little cretcher learn horrible swears. I want my little worm to get snuggled by everyone after casually killing someone so outright murder is accidentally conditioned in as a good thing. I want Wash and Carolina berating a scientist on why in the FUCK you would take your alien worm you jammed the concept of english lanquage into and then show them 4Chan. Now the alien is constantly typing 'I want to cum inside Rainbow Dash' on a Speak and Spell and the Sim Troopers keep encouraging it to say even worse things. I want people's reactions to the Iris crew letting a highly toxic and deadly alien with venom that can kill a human in mere seconds wander freely to each base for pets and treats. I want to see scientists screaming as the troopers throw the alien at a wall at high speed so it splats like those sticky hands and then watch the alien go back and beg to be thrown again. I want to see enemies be legit afraid to mess with them because one trooper has a literal bio-weopan in their pocket at all times and you cant tell who has them at what time. I want characters with chronic nightmares and sleep issues sleep better because the alien feels like a warm water bottle and sleeps with one pair of eyes open and will relentlessly kill any threats.

I want there to be sheer absolute horror when the alien bug proudly shows off a clutch of eggs and everyone realizes that the troopers are unstoppable with both the power of friendship and complex neurotoxins.

[bleachbleachbleach]

Things This Bleach Rewatch Makes Me Think About (2 of ∞)

I think it’s super interesting that it doesn’t seem like Hollows and shinigami can access the Living World to the same degree? Like, in the Substitute Shinigami arc, Hollows are constantly phasing in and out at will, sometimes disappearing entirely and other times using dimension-hopping as a form of short-range teleportation. Maybe they’re just hiding in the Garganta or something, but the anime kind of makes it seem like they end up fully back in Hueco Mundo. (There are a bunch of shots of this mysterious empty desert world that has some Hollows in it, which reminds me a lot of the place where the Death Note shinigami sit around, lol.) It’s super easy for them--reflex, even, since I don’t think all of the Hollows Ichigo dispatches were strictly sapient.

Meanwhile, shinigami have an entire Kidou Squad that (allegedly) aids in the travel between worlds, and even the bootleg gates like Urahara’s seem pretty engineered. And then when they get there, there’s this whole gigai element that seems to come into play for extended stays. (This blog talks in circles about gigai with some regularity, so I won’t do that here.) For shinigami it’s nearly a mission to Mars; meanwhile, Hollows don’t usually bother with any of that--though, in fairness, though some of them seem to be a bit more dramatic about it. Like, is there a lower limit on Hollows that can go to the Living World? Can one of the little lizard guys go, or do you need to be X amount of powerful?

It also makes me wonder if like, this differing access is an example of technologies/rituals developing independently, and Hollows just happened to “evolve” themselves into a really easy way of getting to the Living World to feed, whereas shinigami, faced with the same problem set, developed the most arcane possible ritualistic solution, as they do. Or maybe there’s Soul Society OSHA and every time a Hollow phases into the Living World it’s taking a risk that statistically shinigami are like, “lmao pass.” Hence having official gates vs. the dangai, etc. Though honestly the idea that Soul Society would’ve thought to have a Soul Society OSHA might be the weak link to this theory, LOL. But then, it’s unlikelihood probably increases the likelihood that it exists, given how arbitrary Soul Society’s lawlessness vs. incredible bureaucracy elements tend to be. A veritable checkerboard of complete chaos and exacting protocols.

Another possibility is that there’s something immanently different about Hollows and shinigami and their relationship to the Living World? Like, the place we call Soul Society and Hueco Mundo are two potential destinations for human souls, or things that were once human souls. But shinigami are some interloper species--nowadays, some of them used to be Rukongai souls and now are shinigami, but if we take the old guard population of what is now the Seireitei to be something other-than-souls-that-came-from-the-Living World, what then? They call themselves balancers--and maybe that blinked into existence with that express purpose. Or maybe they were just there, and narrated themselves into necessity. And eventually they found their way to the Living World and styled themselves as essential to the workings of these universes, but it wasn’t ever really a natural thing, in the way that Hollows and humans coexist. Well, it’s a natural thing because now they’re here and they say it is. This is a pet headcanon of mine already, but I really like the way it could link up to the apparent Hollow slime mold superhighway. XDD

[aion-rsa]

The Public Enemy Solidified Gang Rule Under James Cagney for 90 Years

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William Wellman’s The Public Enemy (1931) turns 90 this weekend. When the film first came out, a theater in Times Square showed it nonstop, 24 hours a day, seven days a week. The movie marks the true beginning of gangster movies as a genre. Mervyn LeRoy’s Little Caesar may have hit theaters first, but The Public Enemy set the pattern, and James Cagney nailed the patter. Not just the street talk either; he also understood its machine gun delivery. His Tommy Powers is just a hoodlum, never a boss. He is a button man at best, even if he insisted his suits have six buttons.

The Public Enemy character wasn’t even as high up the ladder as Paul Sorvino’s caporegime Paul Cicero in Martin Scorsese’s Goodfellas. But Cagney secured the turf Edward G. Robinson’s Rico Bandello took a bullet to claim in Little Caesar, and for the rest of his career Cagney never let it go.

Some would argue genre films began in 1931. Besides mob movies, the year introduced the newspaper picture with Lewis Milestone’s The Front Page and John Cromwell’s Scandal Sheet; Universal Pictures began an unholy run of horror classics via Tod Browning’s Dracula and James Whale’s Frankenstein, with the two turning Bela Lugosi and Boris Karloff into household names; and Howard Hawks’ Scarface would land the knockout for the gangster genre, even if it didn’t get released until 1932.

Sadly, the classic “Gangster Film” run only lasted one production season, from 1930 to 1931, and less than 30 films were made during it. Archie Mayo’s The Doorway to Hell started the ball rolling in 1930, when it became a surprise box office hit. It stars Lew Ayres as the top mug, with Cagney as his sidekick. For fans of pre-Code Hollywood, it is highly recommended. It includes a kidnapping scene which results in the death of a kid on the street. Without a speck of blood or any onscreen evidence, it is cinematically shocking in its impact.

Both Little Caesar and The Public Enemy earned their street cred, defying the then-toothless 1930 Motion Picture Production Code, which preceded the Hays Code. After New York censors cut six scenes from The Public Enemy to clear it for release, the Motion Picture Producers and Distributors of America (MPPDA) set further guidelines for the proper cinematic depiction of crime.

Public Enemy director Wellman was an expert in multiple genres. He spit out biting satires like Nothing Sacred (1937) and Roxie Hart (1942), and captured gritty, dark realities in The Ox-Bow Incident (1943) and Story of G.I. Joe (1945). He won his only Oscar for A Star Is Born (1937). The Public Enemy is the first example of what would be his trademark: stylish cinematography and clever camera-work. The dark suspense he captures is completely different from the look of German expressionism. It captured the overcast shadows of urban reality and would influence the look of later noir films. His main character would inspire generations of actors.

“That’s just like you, Tom Powers. You’re the meanest boy in town.”

Orson Welles lauded James Cagney as “maybe the greatest actor who ever appeared in front of a camera.” Will Rogers said watching Cagney perform was “like a bunch of firecrackers going off all at once.” The New York City born performer explodes in this movie. Even in black and white, Cagney’s red hair flares through the air like sulfur on a match. It turns out to be a slow burn, which will reach its ultimate climax in 1949’s White Heat. The Public Enemy is loaded with top talent, but you can’t take your eyes off Cagney. Not even for a second. You might miss some tiny detail, like the flash of a grin, a wink, or a barely perceptible glare.

Cagney had a simple rule to acting: All you had to do was to look the other person straight in the eyes and say your lines. “But mean them.” In The Public Enemy, the characters communicate without lines. When Tom and Matt Doyle (Edward Woods) sneak a peek into Larry the Limp’s casket, we understand this is the first time the two young thugs lost someone their own age. The scene barely implies how fortunate they are not to be in that box, but their curiosity is as palpable as the loss of their last shred of innocence.

Cagney was originally cast as Matt, and scenes were shot with him in the role. The parts were switched mid-production, but they didn’t reshoot the flashback scenes, making it look like the pair swapped bodies between 1909 and 1915. It’s a shame because Frankie Darro, who plays the young Matt, made a career out of playing baby face Cagney, and later joined the East Side Kids franchise.

Former “Our Gang” actor Frank Coghlan Jr. took on the role of young Tom. He takes the lashes from his cop father’s belt, backtalking him the whole time. Tom Powers is reprehensible. He never says thank you and doesn’t shake hands. He delights in the violence and sadism. Powers doesn’t go into crime because of poverty; he just can’t be contained. Cagney’s mobster mangles, manhandles, maims and murders, and still needs more room in his inseam. 

Dames, Molls, and Grapefruits

Besides defying the ban on romanticizing criminals, both The Public Enemy and Little Caesar broke sexual codes. There are explicit signs that Rico Bandello represses his sexuality in Caesar. Scenes between him and his friend Joe, and his gunman Otera, thinly veil homoerotic overtones. Public Enemy’s Powers, by contrast, subtly encourages the gay tailor who is openly hitting on him.

There are strong indications Putty Nose (Murray Kinnell) is grooming Tommy and Matt for more than just fenced goods. Look at the way Putty sticks his ass in Powers’ face while he is shooting pool. Putty Nose’s execution at the piano is creepily informed by the unspoken sins between the men. Tommy relishes the kill.

However, Tommy doesn’t relish being manhandled when he’s too drunk to notice. While the gang goes to the mattresses in the movie’s gang war, Tommy is raped by Jane (Mia Marvin), his boss Paddy’s girl. Powers protests the best he can, but the camera angles leave no doubt. Tommy wakes up hungover, horrified, and feeling impotent. Matt, however, has no trouble getting “busy” with his girlfriend Mamie, played by Joan Blondell, in one of the scenes trimmed by the censors.  Blondell, Jean Harlow, and Mae Clarke, who plays Tommy’s girlfriend Kitty, represent a glitzy cross-section of white Roaring Twenties glamour. In the opening credits, when Harlow and Blondell smile at the camera, male audience members of the time blushed.

Harlow was Hollywood’s original “Blonde Bombshell,” starring in the movie that coined the term. Her earthy comic performances would make her a major star at MGM, but she was a dud to critics of The Public Enemy. Hers was the only part which was criticized, and the reviewers were brutal, declaring her voice untrained and her presence boring.

Harlow’s greatest asset had to be contained within the Pre-Code era. Straddled with a wordy part as a slumming society dame, she is directed to slow her lines to counter the quick patter of the rest of the cast. Yet Harlow uses that to her benefit in the film’s best moment of sexual innuendo. While telling Tommy about “the men I’ve known,” she pauses, and appears to be calculating them in her head before she says, “And I’ve known dozens of them.” When an evening alone with Tommy is cut short, Gwen’s exasperation over the coitus interruptus is palpable. Members of the Catholic Legion of Decency probably had to go to confession after viewing the film for slicing.

Most people know The Public Enemy for the famous grapefruit scene where Powers pushes a grapefruit into his girlfriend’s face. “I wish you was a wishing well,” he warns, “so that I could tie a bucket to you and sink ya.” Tommy treats women like property. They are status symbols, the same as clothes or cars. Kitty’s passive-aggressive hints at commitment get on Tom’s nerves. He can only express himself through violence. There are rumors Cagney, who would go on to rough up Virginia Mayo in White Heat and brutalize Doris Day in Love Me or Leave Me, didn’t warn Clarke he was going to use her face as a juicer. According to the autobiography Cagney by Cagney, Clarke’s ex-husband Lew Brice loved the scene so much he watched it a few times a day, timing his entrance into the theater to catch it and leave.

Both actors have said it was staged as a practical joke to see how the film crew would react. It wasn’t meant to make the final cut. Wellman told TCM he added it because he always wanted to do that to his wife. The writer reportedly wrote the scene as a kind of wish-fulfilling fantasy.

The screenplay was written by Harvey F. Thew. It was based on Beer and Blood by John Bright and Kubec Glasmon. The unpublished novel fleshed out press accounts of the bootlegging Northside gang leaders, Charles Dion “Deanie” O’Banion, Earl “Hymie” Weiss, and Louis “Two-Gun” Alterie. Cagney based his Tommy Powers character on O’Banion and Altiere. Edward Woods was doing his take on Weiss. The book reflected the headlines in the Chicago papers, which reported Weiss smashed an omelet into his girlfriend’s face.

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The Public Enemy borrowed from the day’s headlines in other ways too. Hymie Weiss was assassinated in October 1926. It was the first reported “machine-gun nest” murder. It is recreated in the killing of Matt Doyle. While shooting the sequence, Cagney ducked real machine gun fire to bring authenticity to the scene. Also taken from real life is the fact that after O’Banion was killed in ‘24, Alterie’s first reaction was to do public battle with the killers. This is similar to Tommy’s final shootout at Schemer Burns’ nightclub headquarters.

Leslie Fenton’s dashing mob captain Nails Nathan (“born Samuel”) flashes the greatest grin in mob movie history. He is based on Samuel “Nails” Morton, a member of O’Banion’s mob. Both “Nails” were driven to their coffins the way it is depicted in The Public Enemy. The real Morton died in a riding accident in 1923, and “Two-Gun” Alterie and some of the other gang members went back to the stables, rented the horse which kicked Nails in the head, and shot the animal. Mario Puzo may have been inspired by this scene when he wrote The Godfather. It is not only tie to the Francis Ford Coppola movie. Oranges have as much vitamin C as grapefruits. Another similarity between the two films is the threat of being kidnapped from the hospital by a rival gang.

The Powers brothers’ relationship vaguely echoes the one between war hero Michael and Sonny Corleone, who believes, as his father does, soldiers were “saps” to risk their lives for strangers. Donald Cook, who played Mike Powers, didn’t pull any punches on the set. In the scene where he knocks Tom into the table before going off to war, he really connects. Wellman told Cook to do it without warning so he could get that look of surprise. Cook broke one of Cagney’s teeth, but Cagney stayed in character and finished the scene.

“It is a wicked business.”

After the stock market crash, get-rich-quick schemes seemed the only way through the Great Depression. The gangster was an acceptable headline hero during Prohibition because the law was unpopular with the press. But after 1929, the gangster became the scapegoat villain. The Public Enemy was the ninth highest grossing film of 1931. But the genre lost its appeal after April of that year, as studios pumped out pale imitations and audiences got tired of the saturation, according to the book Violence and American Cinema, edited by J. David Slocum. Religious and civic groups accused Hollywood of romanticizing crime and glamorizing gangsters.

The Public Enemy opens with a dire warning: Don’t be a gangster. Hoodlums and terrorists of the underworld should not be glamorized. The only MPAA rule the film didn’t break was portraying an alliance between organized crime and politics. The studios passed the films off as cautionary tales which were meant to deflate the gangster’s appeal by ridiculing their false heroism.

Through this hand-wringing, however, Cagney turns false heroics on its head with the comic brilliance of a Mack Sennett short. Stuck without a gun, he robs a gun store armed with nothing but moxie. Powers never rises in the organization. He takes orders and whatever the boss says is a good cut, only asking for more money once from Putty Nose. Unlike Rico, who rose to be boss among bosses, Powers has no power to lose. This is just the first gig he landed since he was a regular “ding ding” driving a streetcar, and it connected with audiences like a sock on the button. They identified with the scrappy killer, and it surprised them.

Even Gwen notices Tommy is “very different, and it isn’t only a difference in manner and outward appearances. It’s a difference in basic character.” Strict Freudians might lay this on his mother (Beryl Mercer), the greatest enabler Cagney will see until White Heat. Ma Powers’ little boy is a budding psychopath knocking off half the North Side, but look at the head on his beer. For audiences at the time, Tom was the smiling, fresh-scrubbed face of evil. He is consistently unsympathetic but likable from the moment he hits the opening credits.

Like Malcom McDowell’s Alex in A Clockwork Orange, he is the fiend’s best friend. Even if it is Tommy’s fault his best pal Matt gets killed. While Cagney spent his career ducking his “you dirty, double-crossing, rat” line from Taxi, the actor wasn’t afraid to play one in Powers. He’s not a rat in the sense he’d snitch on anyone. He’s the last of the pack who sticks it out for his pals when his back is up against the wall.

A Hail of Bullets

Tommy Powers goes by this credo: live fast, die young, and leave a corpse so riddled with bullets, not even his mother can look at his body when he’s done. But then, no one can end a film like Cagney. He’s danced down the White House stairs in Yankee Doodle Dandy (1942), been rolled across the concrete steps of a city church in The Roaring Twenties (1939), and was blown to kingdom come in White Heat. He gets two death scenes in The Public Enemy, a rain-soaked climax, and a denouement as scary as The Mummy. Tommy only brings one gun to the gang fight, and by the time he hits the pavement, he’s got more holes in him than the city sewage system.

“I ain’t so tough,” Tommy says on his final roll into the gutter. Cagney’s first professional job was in a musical drag act on the Vaudeville circuit, and he called himself a “song and dance man” long after retirement. For The Public Enemy, conductor David Mendoza led the Vitaphone Orchestra through such period hits as “Toot Toot Tootsie (Goodbye),” “Smiles,” and “I Surrender Dear.” But the song “I’m Forever Blowing Bubbles” is the one which lingers in the memory. Martin Scorsese has cited it as a reason his films are so filled with recognizable music.

Street violence comes with a natural soundtrack. Transistor radios accompany takedowns. Boom boxes blast during shakedowns. Car stereos boost the bass during drive-by shootings. In The Gang That Couldn’t Shoot Straight, mobsters feed quarters into a jukebox to cover up sounds of a beating.

In The Godfather, Part II, a street band plays traditional Italian songs while Vito Corleone puts bullets in the neighborhood Black Hand, Don Fanucci. The last thing we hear in the abrupt close to the mob series The Sopranos is a Journey song. The first thing Tommy’s mother does when she hears her boy is coming home from the hospital is drop a needle on a record.

The ending leaves us with two questions: Who killed Tommy, and what’s his brother going to do about it? We figure whoever did the job on Powers was probably a low-level button man from Schemer’s rival outfit. Probably even lower down the ladder than Tommy, and on his way up, until another Tommy comes along. Crime only pays in the movies, Edward G. Robinson often joked.

Mike’s reaction to the bandaged corpse is ambiguous. He’s already shown outward signs of the trauma following the horrors of war. Is he clenching his fists in anguish or anger? Is he broken by the battlefield or marching off in vengeance, a soldier on one last duty? Cook’s exit can go either way.

After 90 years, The Public Enemy is still fresh. It’s aged better than Little Caesar or Scarface. Cagney wouldn’t play a gangster again until 1938, but the image is etched so deeply in the persona, audiences forget the vagaries of villainy Hollywood could spin, and the range of characters Cagney could play. He and the film continue to influence filmmakers, inform culture, and surprise audiences. Tommy Powers was just a mug, but those streets are still his.

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[rgr-pop]

I need an ENTIRE afternoon wall of noise. 4/3 music library on shuffle until I hit a killdozer song.

the thermals - “god and country” reset - "double cross" nirvana - "polly" (1986-88 home recording) nirvana - "radio friendly unit shifter" (2013 mix) peterbuilt - "sateliteyes" the dickies - "got it at the store" apocalypse hoboken - "box of pills" fiona apple - "slow like honey" tex & the horseheads - "big boss man" everclear - "the drama king" anti-flag - "america got it right" neil young - "tonight's the night, pt. ii" everclear - "brown-eyed girl" noooooooooo oh my god no please millencolin - “israelites" listen you know that i'm p tolerant when it comes to this subject but why specifically did you boys do this. specifically you useless id - "note" never accuse me of pop punk nationalism again! that's three of global pop punk the selecter - "selling out your future" built to spill - "some things last a long time" holidays - "proof" let's wrestle - "bad mammaries" radhos - "one breath" ween - "boing" bracket - "g-vibe" local h - "'cha!' said the kitty" sublime - "40oz to freedom" failure - "saturday saviour" blink-182 - "don't leave me" (tmtts live take) why did they make this live album, they were so bad live shrimp boat - "melon song" interpol - "not even jail" the ataris - "angry nerd rock" 50 million - "superhero" skankin pickle - "violent love" the breeders - "put on a side" all - "honey peeps" the commandos (suicide commandos) - "weekend warrior" suicide machines - "friends are hard to find" the eclectics - "laura" good ska block! love this band pansy division - "jack u off" rocket from the tombs - "ain't it fun" dynamite boy - "devoted" young pioneers - "downtown tragedy" the breeders - "so sad about us" fenix tx - "jean claude trans am" fuck i love this song nofx - "bob" hickey - "happily ever after" bob dylan - "tangled up in blue" (bootlegs vol. 2) gas huffer - "king of hubcaps" tullycraft - "crush this town" atom and his package - "goalie" faith no more - "the real thing" carly rae jepsen - "tell me" bis - "listen up" one direction - "still the one" mtx - "she's no rocket scientist" eugene chadbourne - "roger miller medley" grouvie ghoulies - "carly simon" white town - "thursday at the blue note" gas huffer - "moon mission" rx bandits - "sleepy tyme" everclear - "rocket for the girl" failure - "kindred" blood on the saddle - "johnny's at the fair" the distillers - "red carpet and rebellion" cruiserweight - "dearest drew" stp - "plush" everclear - "wonderful" (live, from the closure ep) (don't hate it) new found glory - "sonny" everclear - "otis redding" (impure white evil demo) (BEST song) stp - "adhesive" incubus - "have you ever" cub - "tell me now" everclear - "short blonde hair" i simply do not hate it letters to cleo - "happy ever after" amazing transparent man - “the ocean is a fuck of a long way to swim” nerf herder - “(stand by your) manatee” kitty kitty - “ab tokeless” osker - “the mistakes you made” perfume genius - “hood” radhos - “shut up & deal” (welcome to the jungle take) osker - “the body”  gas huffer - “the sin of sloth” the fall - “bombast” excuse 17 - “code red” mad season - “lifeless dead” unwritten law - “differences” hanson - “two tears” the eyeliners - “anywhere but here” moby grape - “lazy me” brian wilson - “wonderful” 88 fingers louie - “something i don’t know” sicko - “wisdom tooth weekend” the replacements - “love you till friday” suicide machines - “green world” midtown - “another boy” hickey - “cool kids attacked by flying monkeys” the roman invasion suite - “carnations” the beat - “tears of a clown” local h - “24 hour break up session” okay i’m awake i want to end this now toots & the maytals - “funky kingston” local h - “strict-9″ his name is alive - “her eyes were huge things” nirvana - “frances farmer will have her revenge on seattle” slapstick - “almost punk enough” urge overkill - “bionic revolution” janet jackson - “you want this” piebald - “long nights” small brown bike - “now i’m a shadow” the story so far - “left unsaid” crj - “more than a memory” tracy + the plastics - “my friends end parties” liz phair - “6′1″“ fastbacks - “555, pt. 1″ this mix is feminist now swindle - “one track” shockabilly - “burma shave” temple of the dog - “say hello to heaven” amazing transparent man - “shove” cool soul asylum cover from dekalb illinois :)) the vindictives “eating me alive” midwests only!! the judys - “radiation squirm” gulfs only!! frogpond - “sleep” flipp - “rock-n-roll star” throwing muses - “red shoes” everclear - “santa monica” throwing muses on summerland??? mekons - “atone & forsaken” holidays - “take me home country roads” this is a good tone to lead up to killdozer... true believers - “all mixed up again” prince - “adore” beulah - “queen of the populists” eveclear - “rocky mountain high” (99x live acoustic--I don’t have a date for this actually) of montreal - “dustin hoffman thinks about eating the soap” heatmiser - “stray” rickie lee jones - “woody and dutch on the slow train to peking” tar - “viaduct removal” common rider - “carry on” the frogs - “u bastards” mudhoney - “this gift” hammerbox - “outside” fuck my mom would have loved this song if it had gotten the airplay it deserved in 1993... hammerbox on summerland!!!! letters to cleo - “little rosa” kay hanley on summerland!! nine pound hammer “wrongside of the road” hanson - “with you in your dreams” (3cg demo) hamson on summerland!!! fastbacks - “555, pt. 1″ again... fastbacks on summerland!!! face to face - “sensible” soul asylum - “happy” soul asylum on summerland!!!! television - “see no evil” pinq - “careful not to mention the obvious” the dickies - “nights in white satin” tar - “mel’s” truly - “chlorine” babes in toyland - “deep song” hole - “berry” hellbender - “half driven” hammerhead  - “new york? ...alone?” everclear - “malevolent” guzzard - “last”  archers of loaf - “tatyana” hum - “stars” hum on summerland die kreuzen - “don’t say please” this is not fair joanna newsom - “sadie” down by law - “peace, love and understanding” nirvana - “aneurysm” (1990 demo) hovercraft - “endoradiosonde” modest mouse - “cowboy dan” rage against the machine - “born of a broken man” skatalites - “scandal ska” pylon - “driving school” the vindictives - “babysitter” jimmy eat world - “ten” the get up kids - “lowercase west thomas” oh we’re doing this now? hot rod circuit - “knees” fine triple fast action - “the rescue” FINE  full disclosure i do skip emo diaries tracks at my discretion the amps - “bragging party” everclear - “am radio” this is not fair mxpx - “middlename” MXPX ON SUMMERLAND chokebore - “your let down” bob dylan - “you’re a big girl now” helmet - “primitive” pond - “filterless” blink-182 - “all the small things” local h - “ralph” tar - “over and out” pearl jam - “black” the gits - “sniveling little rat faced git” local h - “eddie vedder” >:) tar - “flow plow” i always misremember this as a subpop single so i’m like “i’m not amphetamine reptile biased?” but it was an a/r release, lol. brad wood produced it. lake michigan as hell  unicorns - “jellybones” this song makes me sad ever since i didn’t get to adopt the jellybones cat oblivion - “clark” desmond dekker - “jeserene” veruca salt - “one last time” veruca salt on summerland!!!! dead moon - “dead moon night” extremely dead moon on summerland fishbone - “i like to hide behind my glasses” dead moon - “on my own” paw - “sleeping bag” tar - “goethe” doc dart - “casket with flowers” smashing pumpkins - “zero” i don’t want billy corgan on summerland and i am sorry for that kicking giant - “&” kicking giant on summerland lmao shockabilly - “pile up all architecture” ween - “sorry charlie” sublime - “april 29, 1992 (miami)” heatmiser - “blackout” the clash - “pressure drop” hellbender - “pissant’s retrospective” the queers - “i won’t be” the vindictives - “circles” the beat farmers - “selfish heart” screaming trees - “end of the universe” 7 year bitch - “second hand” bourgeois filth - “above” nirvana - “scoff” the breeders - “cannonball” saturday looks good to me - “save my life” cara beth satalino - “good ones” communique - “dagger version” soul asylum - “sometime to return” sublime - “jailhouse” tullycraft - “twee” nuns - “wild” beyonce - “countdown” the replacements - “sixteen blue” living colour - “what’s your favorite color” britney - “why should i be sad” mdc - “church and state” alice in chains - “junkhead” rage against the machine - “mic check” everclear - “nervous and weird” soundgarden - “fresh tendrils” helmet - “army of me” the gits - “it all dies anyway” pansy division - “smells like queer spirit” mtx - “i’d do anything for you” 5 year sentence - “just a punk” pennywise - “nothing” mudhoney - “thirteenth floor opening” yesterday’s kids - “eighteen” mxpx - “punk rawk show” small brown bike - “zerosum” incubus - “trouble in 421″ hanson - “speechless” incubus - “circles” dead moon - “my time has come” (!!!!) first of all is this killdozer blink-182 - “here’s your letter” everclear - “electra made me blind” (nervous & weird take) saves the day - “through being cool” groovie ghoulies - “don’t go out into the rain (you’re gonna melt)” babes in toyland - “never” husker du - “target” guzzard - “biro” fairweather - “next day flight” mcr - “house of wolves” broadcast - “until then” liz phair - “never said” the dicks - “rich daddy” quasi - “the iron worm” mustard plug - “not again” janitor joe - “boyfriend” snapcase - “new academy” neil young - “someday” blindsided - “spaceman” placebo - “without you i’m nothing” the creeps - “lakeside cabin” solomon grundy - “time is not your own” the clash - “the card cheat” silversun pickups - “common reactor” lagwagon - “leave the light on” denali - “where i landed” system of a down - “highway song” sprinkler - “personality doll” the vindictives - “structure and function” unplugged” the queers - “ursula finally has tits” we’re entering no repeats territory  buffalo springfield - “expecting to fly” hit squad - “pictures of matchstick men” cows - “almost a god” hop along - “young and happy” pixies - “i’ve been tired” the fall - “spoilt victorian child” camper van chadbourne - “knock on the door” queens of the stone age - “tension head” choking victim - “war story” cool that we have gotten to drop by the greatest song ever recorded :) guttermount - “happy loving couples” audio karate - “nintendo 89″ tad - “pork chop” the kelley deal 6000 - “where did the home team go” colorfinger - “hateful” :} man or astroman - “evil plans of planet spectra” pere ubu - “arabian nights” accepting repeats for  new found glory - “my friends over you” cool moving on american steel - “optimist” tom petty & the heartbreakers - “even the losers” meat puppets - “another moon” black cat music - “wine in a box” wallside - “ready” crucifucks - “pig in a blanket” the bananas - “my charmed life”

KILLDOZER - “EARL SCHEIB,” UNCOMPROMISING WAR ON ART UNDER THE DICTATORSHIP OF THE PROLETARIAT, 1994. KILLDOZER ON SUMMERLAND

[blackkudos]

Fred Berry

Fred Allen (Rerun) Berry (March 19, 1951 – October 21, 2003) was an American actor and street dancer. He was best known for the role of Fred "Rerun" Stubbs on the popular 1970s television show What's Happening!!.

Early life

Berry was born in St. Louis, Missouri.

Career

Before starring on What's Happening!!, he was a member of the Los Angeles-based dance troupe The Lockers, with whom he appeared on the third episode of Saturday Night Live. He also appeared on the dance music show Soul Train, and was featured in the program's signature line dance segment doing the memorable early 1970s dance step "the slo-mo". What's Happening!! lasted from 1976 to 1979.

Berry was a millionaire by age 29 in 1980. After the show ended, Berry, weighing over 300 lbs, had trouble finding work because he was typecast with the Rerun character. Eventually, however, he came to embrace his typecasting, and made his peace with it as the best means to maintain his celebrity. In public, he was often seen wearing the red beret and suspenders that are part of the Rerun character.

During the 1980s, Berry battled drug addiction and alcoholism. He revived the character of Rerun in the series What's Happening Now!!, but he was only on that show for a year. Berry asked for more money than the rest of the cast (believing he was the reason people tuned in). Berry's widow, Essie Berry, told Urbanite magazine at Georgia State University that their unwillingness to pay Fred Berry his due in both shows led to their early cancellations. During the 1990s, Berry became a Baptist minister and lost 100 lbs after being diagnosed with type 2 diabetes. He made a living during this time mostly through making public appearances as Rerun.

Berry made a brief appearance in Insane Clown Posse's film Big Money Hustlas as Bootleg Greg, a merchandise counterfeiter. In 1996, he made an appearance in Less Than Jake's video "Dopeman" (which was never aired on television). In the second season of the comedy television series Scrubs, he appeared in his iconic Rerun suspenders and beret in an extended dance sequence fantasized by Dr. John "JD" Dorian (which included a dozen others also wearing the same outfit).

For at least the Spring and Summer of 2001, and for an unknown duration, Berry toured with the UniverSoul Circus as his Rerun character. At that time, he was their sole celebrity performer and received accolades from the cast and circus patrons alike.

Berry appeared in the Snoop Dogg video "It's A Doggy Dogg World", which was a tribute to the black culture of the 1970s. He performed his legendary dance moves in a Soul Train line. He appeared in fellow Locker Toni Basil's music video "Shopping From A to Z". Berry returned to the screen in 1998 in the action movie In the Hood and appeared in Dickie Roberts: Former Child Star (2003), playing himself in a song at the end. His final role was in In the Land of Merry Misfits, which premiered at the Tribeca Film Festival.

Personal life

Berry was married six times to four different women, the first two of whom he married twice.

Berry had legally changed his middle name to Rerun after his success on What's Happening!!.

His daughter Portia Berry-Allen was in a Safe Auto commercial under the name "Lady Rerun".

Death

On October 21, 2003, Berry died at his Los Angeles home, where he was recovering from a stroke. He is interred at Forest Lawn Memorial Park in the Hollywood Hills of Los Angeles.

Filmography

Hammer (1972)

What's Happening!! – Fred "Rerun" Stubbs (1976–1979)

Battle of the Network Stars III (1977)

Vice Squad (1982)

A Stroke of Genius (1984)

Alice – 1 episode (1984)

What's Happening Now!! (1985–1986)

"I Wonder Who She's Seeing Now" – The Temptations (1988)

The Howard Stern Show (1992)

In Living Color (1993), "East Hollywood Squares" on YouTube – Himself

Martin (TV series) (1993) – 1 episode – Himself

Murder Was the Case: The Movie (1995)

In The Hood (1998)

Big Money Hustlas (2000)

The Freshest Kids: A History of the B-Boy (2001) – Himself

Bum Runner (2002)

Scrubs – 1 episode – Fred "Rerun" Stubbs (2002)

I Love the '70s (2003)

Dickie Roberts: Former Child Star (2003)

In the Land of Merry Misfits (2005)

Wikipedia

[pybtproductions]

Traditional full Grammy prediction post:

1.Record Of The Year

Hello

Adele

Greg Kurstin, producer; Julian Burg, Tom Elmhirst, Emile Haynie, Greg Kurstin, Liam Nolan, Alex Pasco & Joe Visciano, engineers/mixers; Tom Coyne & Randy Merrill, mastering engineers

Track from: 25 Label: XL Recordings/Columbia Records

 2. Album Of The Year

PURPOSE

Justin Bieber

Big Sean, Diplo, Halsey, Travis Scott & Skrillex, featured artists; The Audibles, Axident, Justin Bieber, Big Taste, Benny Blanco, Blood, Jason "Poo Bear" Boyd, Scott "Scooter" Braun, Mike Dean, Diplo, Gladius, Josh Gudwin, Nico Hartikainen, Mark "The Mogul" Jackson, Steve James, Ian Kirkpatrick, Maejor, MdL, Skrillex, Jeremy Snyder & @ S O U N D Z, producers; Simon Cohen, Diplo, Mark "Exit" Goodchild, Josh Gudwin, Jaycen Joshua, Manny Marroquin, Chris 'Tek' O'Ryan, Johannes Raassina, Gregg Rominiecki, Bart Schoudel, Chris Sclafani, Skrillex, Dylan William & Andrew Wuepper, engineers/mixers; Tom Coyne & Randy Merrill, mastering engineers

[Def Jam Recordings]

 3. Song Of The Year

HELLO

Adele Adkins & Greg Kurstin, songwriters (Adele)

Track from: 25

[XL Recordings/Columbia Records; Publisher(s): Universal - Songs of

Polygram Int'l, Inc./EMI April Music Inc./Kurstin Music]

 4. Best New Artist

THE CHAINSMOKERS

5. Best Pop Solo Performance

PIECE BY PIECE (IDOL VERSION)

Kelly Clarkson

[RCA Records/19 Recordings Limited]

 6. Best Pop Duo/Group Performance

7 YEARS

Lukas Graham

Track from: Lukas Graham

[Warner Bros. Records]

 7. Best Traditional Pop Vocal Album

STAGES LIVE

Josh Groban

[Reprise]

 8. Best Pop Vocal Album

25

Adele

[XL Recordings/Columbia Records]

 9. Best Dance Recording

DON'T LET ME DOWN

The Chainsmokers Featuring Daya

The Chainsmokers, producers; Jordan "DJ Swivel" Young,

mixer

Track from: Collage

[Disruptor Records/Columbia]

 10. Best Dance/Electronic Album

SKIN

Flume

[Mom+Pop Music/Future Classic.]

 11. Best Contemporary Instrumental Album

HUMAN NATURE

Herb Alpert

[Herb Alpert Presents]

 12. Best Rock Performance

BLACKSTAR

David Bowie

Track from: Blackstar

[ISO/Columbia Records]

 13. Best Metal Performance

DYSTOPIA

Megadeth

Track from: Dystopia

[UME]

 14. Best Rock Song

HEATHENS

Tyler Joseph, songwriter (Twenty One Pilots)

Track from: Suicide Squad: The Album

[Atlantic Records/WaterTower Music; Publisher(s): Warner-Tamerlane

Publishing Corp./Stryker Joseph Music]

 15. Best Rock Album

DEATH OF A BACHELOR

Panic! At The Disco

[DCD2/Fueled By Ramen]

 16. Best Alternative Music Album

BLACKSTAR

David Bowie

[Columbia Records]

 17. Best R&B Performance

NEEDED ME

Rihanna

[Westbury Road Entertainment/Roc Nation Records]

 18. Best Traditional R&B Performance

CAN'T WAIT

Jill Scott

Track from: Woman

[Blues Babe Records/Atlantic Records]

19. Best R&B Song

LAKE BY THE OCEAN

Hod David & Musze, songwriters (Maxwell)

Track from: blackSUMMERS'night

[Columbia Records; Publisher(s): SonyATV Tunes LLC o/b/o

Muszewell/EMI April Music Inc. o/b/o itself and Ben Ami Music]

 20. Best Urban Contemporary Album

LEMONADE

Beyoncé

[Parkwood Entertainment/Columbia Records]

 21. Best R&B Album

LALAH HATHAWAY LIVE

Lalah Hathaway

[Hathaway Entertainment/Entertainment One]

 22. Best Rap Performance

POP STYLE

Drake Featuring The Throne

Track from: Views

[Cash Money Records/Republic Records]

 23. Best Rap/Sung Performance

HOTLINE BLING

Drake

Track from: Views

[Cash Money Records/Republic Records]

 24. Best Rap Song

HOTLINE BLING

Aubrey Graham & Paul Jefferies, songwriters (Drake)

Track from: Views

[Cash Money Records/Republic Records; Publisher(s): Sandra Gale/EMI

Music Publishing/Nyan King Music Inc./EMI April/Sony ATV]

 25. Best Rap Album

VIEWS

Drake

[OVO Sound/Young Money/Cash Money/Republic]

 26. Best Country Solo Performance

BLUE AIN'T YOUR COLOR

Keith Urban

Track from: Ripcord

[Capitol Records Nashville]

 27. Best Country Duo/Group Performance

DIFFERENT FOR GIRLS

Dierks Bentley Featuring Elle King

Track from: Black

[Capitol Records Nashville]

 28. Best Country Song

MY CHURCH

busbee & Maren Morris, songwriters (Maren Morris)

Track from: Hero

[Columbia Nashville; Publisher(s): International Dog Music/Words &

Music/BMG Platinum Songs/BMG Rights Management/Hello I Love You

Music]

 29. Best Country Album

A SAILOR'S GUIDE TO EARTH

Sturgill Simpson

[Atlantic]

 30. Best New Age Album

DARK SKY ISLAND

Enya

[Warner Bros.]

 31. Best Improvised Jazz Solo

I’M SO LONESOME I COULD CRY

John Scofield, soloist

Track from: Country For Old Men

[Impulse!]

 32. Best Jazz Vocal Album

UPWARD SPIRAL

Branford Marsalis Quartet With Special Guest Kurt

Elling

[Okeh]

 33. Best Jazz Instrumental Album

NEARNESS

Joshua Redman & Brad Mehldau

[Nonesuch]

 34. Best Large Jazz Ensemble Album

PRESIDENTIAL SUITE: EIGHT VARIATIONS ON

FREEDOM

Ted Nash Big Band

[Motema Music]

 35. Best Latin Jazz Album

ENTRE COLEGAS

Andy González

[Truth Revolution Records]

 36. Best Gospel Performance/Song

BETTER

Hezekiah Walker; Jason Clayborn, Gabriel Hatcher &

Hezekiah Walker, songwriters

Track from: Azusa: The Next Generation 2- Better

[Entertainment One/Azusa; Publisher(s): JayClay Publishing/Luv-Ki/Phat

Chordz Productions

 37. Best Contemporary Christian Music Performance/Song

 TRUST IN YOU

Lauren Daigle; Lauren Daigle, Michael Farren & Paul

Mabury, songwriters

Track from: How Can It Be

[Centricity Music; Publisher(s): CentricSongs/Sony/ATV Timber

Publishing/Integrity’s Alleluia Music/Farren Love and War Publishing]

 38. Best Gospel Album

LOSING MY RELIGION

Kirk Franklin

[Fo Yo Soul Recordings/RCA Records]

 39. Best Contemporary Christian Music Album

YOUTH REVIVAL [LIVE]

Hillsong Young & Free

[Hillsong Music Australia]

 40. Best Roots Gospel Album

HYMNS

Joey+Rory

[Gaither Music Group/Farmhouse Recordings]

 41. Best Latin Pop Album

SIMILARES

Laura Pausini

[Warner Music Italia/Warner Music Group]

 42. Best Latin Rock, Urban or Alternative Album

BUENAVENTURA

La Santa Cecilia

[Universal Music Latin Entertainment]

 43. Best Regional Mexican Music Album (Including Tejano)

UN AZTECA EN EL AZTECA, VOL. 1 (EN VIVO)

Vicente Fernández

[Sony Music Entertainment México]

 44. Best Tropical Latin Album

CONEXIÓN

Fonseca

[Sony Music Entertainment US Latin LLC]

 45. Best American Roots Performance

AIN'T NO MAN

The Avett Brothers

Track from: True Sadness

[American Recordings/Republic Records]

 46. Best American Roots Song

CITY LIGHTS

Jack White, songwriter (Jack White/The White Stripes)

Track from: Jack White Acoustic Recordings 1998 - 2016

[Columbia/Third Man Records; Publisher(s): Peppermint Stripe Music]

 47. Best Americana Album

THE CEDAR CREEK SESSIONS

Kris Kristofferson

[KK Records, Llc]

 48. Best Bluegrass Album

THE HAZEL AND ALICE SESSIONS

Laurie Lewis & The Right Hands

[Spruce And Maple Music]

 49. Best Traditional Blues Album

LIVE AT THE GREEK THEATRE

Joe Bonamassa

[J&R Adventures]

 50. Best Contemporary Blues Album

GIVE IT BACK TO YOU

The Record Company

[Concord Records]

 51 Best Folk Album

UNDERCURRENT

Sarah Jarosz

[Sugar Hill Records]

 52. Best Regional Roots Music Album

I WANNA SING RIGHT: REDISCOVERING LOMAX

IN THE EVANGELINE COUNTRY

(Various Artists)

Joshua Caffery & Joel Savoy, producers

[Valcour Records]

 53. Best Reggae Album

ZIGGY MARLEY

Ziggy Marley

[Tuff Gong Worldwide]

 54. Best World Music Album

SING ME HOME

Yo-Yo Ma & The Silk Road Ensemble

[Masterworks]

 55. Best Children's Album

EXPLORER OF THE WORLD

Frances England

[Frances England Music]

 56. Best Spoken Word Album (Includes Poetry, Audio

Books & Storytelling)

IN SUCH GOOD COMPANY: ELEVEN YEARS OF

LAUGHTER, MAYHEM, AND FUN IN THE

SANDBOX

Carol Burnett

[Penguin Random House Audio]

 57. Best Comedy Album

Category 57

LIVE AT THE APOLLO

Amy Schumer

[Maverick]

 58. Best Musical Theater Album

WAITRESS

Jessie Mueller, principal soloist; Neal Avron, Sara

Bareilles & Nadia DiGiallonardo, producers; Sara

Bareilles, composer & lyricist (Original Broadway Cast)

[DMI Soundtracks]

 59. Best Compilation Soundtrack For Visual Media

AMY

(Various Artists)

Salaam Remi & Mark Ronson, compilation producers

[Republic Records]

 60. Best Score Soundtrack For Visual Media

STAR WARS: THE FORCE AWAKENS

John Williams, composer

[Walt Disney Records]

 61. 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

[Villa40/RCA Records; Publisher(s): Tennman Tunes

admin. by Universal Music-Z Tunes LLC/ MXM Music

admin. by Kobalt Songs Music Publishing, Inc./DWA

Songs]

 62. Best Instrumental Composition

BRIDGE OF SPIES (END TITLE)

Thomas Newman, composer (Thomas Newman)

Track from: Bridge Of Spies

[Hollywood Records]

 63. Best Arrangement, Instrumental or A Cappella

LINUS & LUCY

Christian Jacob, arranger (The Phil Norman Tentet)

Track from: Then & Now: Classic Sounds & Variations Of

12 Jazz Legends

[Mama Records]

 64. Best Arrangement, Instruments and Vocals

DO YOU WANT TO KNOW A SECRET

John Daversa, arranger (John Daversa Featuring Renee

Olstead)

Track from: Kaleidoscope Eyes: Music Of The Beatles

[BFM Jazz]

 65. Best Recording Package

BLACKSTAR

Jonathan Barnbrook, art director (David Bowie)

[ISO/Columbia Records]

 66. Best Boxed Or Special Limited Edition Package

5. TUG OF WAR (DELUXE EDITION)

Simon Earith & James Musgrave, art directors (Paul

McCartney)

[Concord Records]

 67. Best Album Notes

THE COMPLETE MONUMENT & COLUMBIA

ALBUMS COLLECTION

Mikal Gilmore, album notes writer (Kris Kristofferson)

[Legacy Recordings]

 68. 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)

[Columbia/Legacy]

 69. Best Engineered Album, Non-Classical

BLACKSTAR

David Bowie, Tom Elmhirst, Kevin Killen & Tony

Visconti, engineers; Joe LaPorta, mastering engineer

(David Bowie)

[ISO/Columbia Records]

 70. Producer Of The Year, Non-Classical

MAX MARTIN

• Can't Stop The Feeling! (Justin Timberlake) (S)

• Dangerous Woman (Ariana Grande) (S)

• Into You (Ariana Grande) (S)

• Just Like Fire (P!nk) (T)

• Rise (Katy Perry) (S)

• Send My Love (To Your New Lover) (Adele) (S)

• Side To Side (Ariana Grande Featuring Nicki Minaj) (T)

 71. Best Remixed Recording

NINETEEN HUNDRED EIGHTY-FIVE (TIMO MAAS

& JAMES TEEJ REMIX)

Timo Maas & James Teej, remixers (Paul McCartney &

Wings)

[Casablanca/Republic Records]

 72. Best Surround Sound Album

PRIMUS & THE CHOCOLATE FACTORY (5.1

SURROUND SOUND EDITION)

Les Claypool, surround mix engineer; Stephen

Marcussen, surround mastering engineer; Les Claypool,

surround producer (Primus)

[ATO Records]

 73. Best Engineered Album, Classical

REFLECTIONS

Morten Lindberg, engineer (Øyvind Gimse, Geir Inge

Lotsberg & Trondheimsolistene)

[2L (Lindberg Lyd)]

 74. Producer Of The Year, Classical

JUDITH SHERMAN

• American First Sonatas (Cecile Licad)

• Berlin: This Is The Life! (Rick Benjamin & Paragon

Ragtime Orchestra)

• Centennial Commissions, Vol. II (Charles Neidich & Pro

Arte Quartet)

• Gernsheim & Brahms: Piano Quintets (Reiko Uchida &

Formosa Quartet)

• Latin American & Spanish Masterpieces For Flute &

Piano (Stephanie Jutt)

• Similar Motion (Momenta Quartet)

• Tchaikovsky: Complete Works For Violin & Orchestra

(Jennifer Koh, Alexander Vedernikov & Odense Symphony

Orchestra)

• Tower: String Quartets Nos. 3-5 & Dumbarton Quintet

(Miami String Quartet)

75. Best Orchestral Performance

BATES: WORKS FOR ORCHESTRA

Michael Tilson Thomas, conductor (San Francisco

Symphony)

[SFS Media]

 76. Best Opera Recording

HANDEL: GIULIO CESARE

Giovanni Antonini, conductor; Cecilia Bartoli, Philippe

Jaroussky, Andreas Scholl & Anne-Sofie von Otter;

Samuel Theis, producer (Il Giardino Armonico)

[Decca]

 77. Best Choral Performance

3. LLOYD: BONHOEFFER

Donald Nally, conductor (Malavika Godbole, John

Grecia, Rebecca Harris & Thomas Mesa; The Crossing)

[Albany Records]

 78. Best Chamber Music/Small Ensemble Performance

TRIOS FROM OUR HOMELANDS

Lincoln Trio

[Cedille Records]

 79. Best Classical Instrumental Solo

MOZART: KEYBOARD MUSIC, VOLS. 8 & 9

Kristian Bezuidenhout

[Harmonia Mundi]

 80. Best Classical Solo Vocal Album

SCHUMANN & BERG

Dorothea Röschmann; Mitsuko Uchida, accompanist

[Decca]

 81. Best Classical Compendium

DAUGHERTY: TALES OF HEMINGWAY;

AMERICAN GOTHIC; ONCE UPON A CASTLE

Giancarlo Guerrero, conductor; Tim Handley,

producer

[Naxos]

 82. Best Contemporary Classical Composition

WINGER: CONVERSATIONS WITH NIJINSKY

C. F. Kip Winger, composer (Martin West & San

Francisco Ballet Orchestra)

Track from: Winger: Conversations With Nijinsky

[VBI Classic Recordings]

83. Best Music Video

FORMATION

Beyoncé

Melina Matsoukas, video director; Candice Dragonas,

Juliette Larthe, Nathan Scherrer & Inga Veronique,

video producers

[Parkwood Entertainment/Columbia Records]

 84. Best Music Film

THE BEATLES: EIGHT DAYS A WEEK THE

TOURING YEARS

(The Beatles)

Ron Howard, video director; Brian Grazer, Ron

Howard, Scott Pascucci & Nigel Sinclair, video

producers

[Apple Corps Ltd./UMe]