#walton is god’s gift to the world

[lbctal]

i think it’s so cute how walton just refers to baby billy as baby in his instagram posts. like it’s just adorable.

he’s so precious i love him to death.

[singeratlarge]

MERRY CHRISTMAS TO ALL (SUNDAY MATINEE MUSIC VIDEO): “Precious Gem” https://www.youtube.com/watch?v=jzIFQ7QM7sM&t=17s  —A song for my daughter Jade, written long ago as a prayer that she would have a good life. My lyrics are a refraction on the story of the Christ child and the miraculous gift that comes with birth. On Christmas I am drawn to study my non-material blessings, the gifts of having a remarkable life and witnessing the lives of others who’ve been redeemed from ruin, done well, committed kind and noble deeds, and other examples that can’t be measured with a price tag. Speaking for most parents I know, we parents were cluelessly young, appointed with raising children without an instruction manual (other than scriptures, a few psych books, instinct, and random pointers from elders). Parents can be terrorized by the worry that we will fail our children, but we do the work anyway and hope and pray our kids turn out and get the best opportunities they can in this crazy world. With this song I left that in God’s hands, and I must say Jade exceeded all expectations. My daughter is applauded by my peers and anyone who meets her. This song may have been intended as a gift but taking stock of Jade’s accomplishments as a person, wife, and mother is, for me, a gift beyond measure to behold, thanks be to God.

#jade #blair #walton #preciousgem #daughter #christmas #dulcimer #williamsport #johnnyjblair #singersongwriter #singeratlarge

[musicblogwales]

Bethan Lloyd releases debut album ‘Metamorphosis’ via Soulpunx

Bethan Lloyd is a Welsh artist whose trance inducing vocals expand over an ocean of rave inspired production, harmonic layering and otherworldly ecstasy.

Her sonic exploration has taken her from training as a classical singer, immersing herself in Berlin’s experimental music scene, to learning with shamans, masters and the ancient teachings of the natural world. In her latest album, Metamorphosis, Bethan, producing alongside Pre-Human bandmate and master of noise Isaac Ray, takes her intense explorations of the spirit and emotional realms and blends them into something playful and danceable, a gritty experimental pop.  

Tracklisting

1.Boss Of Big Dreams

2.No Umbilical

3.Antares

4.Aria

5.Cutting Circuits

6.Parasitic Yes

7.None Of The Above

8.Whatever We Delete  

Stream ‘Metamorphosis on Spotify Here

https://open.spotify.com/album/4BSmDaElDZpJu30iFw8C5k?si=PniiAfcHQsGHMdfdj3_3Ww

Using expressive vocal layers and hypnotic acid breaks to pull the listener into an ecstatic experience, Bethan Lloyd begins this album by exploring the primal state of emptiness, a place where no thought exists and only being, acting and living remain.

It is this state of emptiness and often The landscape itself which becomes the inspiration for Bethan's creativity. She is frequently journeying with her sonic tools to ancient Neolithic sites and places of awe and wonder and allowing her surroundings to inspire a unique vocal soundscape. A soundscape that stirs up a sense of the forgotten past. The album explores the cosmos and the dark euphoria within it, the themes of mind control and diluted society ask a question about where we are headed as a collective.

The music is a spell for transformation. A cry for a return to sovereignty and autonomy of mind and body. This project delves into the philosophy of animism, guiding humanity back from its abusive relationship with nature. Cutting the chords of consumerism. Cutting the circuits of control and returning to our true gifts, to the web and to the void.   

“Gorgeous” Amy Lamé’s ‘Sunday Girl’,

Amy Lame, BBC Radio 6  

“This is good! Impressive stuff from Bethan Lloyd”  Huw Stephens, BBC Radio  “Folky vocalist to power your pagan rituals”

James Thornhill, Electronic Sound Magazine

“For Welsh artist Bethan Lloyd, the “voice” is a multi-faceted wonder - a tool, a weapon, a healing tonic.”

James Thornhill, Under The Radar Magazine  

“Bethan's inventive use of dream-like, layered sounds is otherworldly.. a rousing electronic set overlaid with distinct vocals... if it’s at all possible to imagine Gothenburg band The Knife singing in Welsh, then you might well be onto something.”

Susan Hansen, Clash Magazine  

"A deeply emotive swirling electro pop that fuses together Lloyd's folk influenced, pagan like, refrains that gradually creep from personal and enveloping to swooping awestruck call to the heavens, underpinned by an intricate and pulsing tapestry of shadowy electronic sounds"

Bill Cummings, God is in the TV Zine  

“I love the synths I love Bethan Lloyd voice, I love the the lyrics. It's just brilliant. She is just brilliant. Very enigmatic presence in many respects and a true artist.”

Adam Walton BBC Radio Wales  

“I saw Bethan play at Focus Wales… She blew me away.. She was one of my favourite artists of the festival… I love her music”

Bethan Elfyn BBC Radio Wales  

“Bethan Lloyd is awesome, she is an incredible musician and singer”

Zakia Sewell, NTS Radio

[cmcsmen]

The Power Of Unconditional Love

Taking It All In Stride - Two people walking the trail at the Homewood Izaak Walton Wetlands Preserve in Illinois - USA - Copyright Frank J Casella All Rights Reserved.

By Frank J Casella

I've had a few dog's in my life, as the saying goes "a house is not a home without a dog on the floor". But one of the things about owning a dog is that they come and go about every dozen years. The thing that I have learned from each dog is a different way of learning about unconditional love. For this reason, I often wonder why 'dog' spelled in reverse is 'god'.

But as much as a dog can relate to us humans, they are not one of us who are more complex. A dog behaviorist once shared with me that a dog does not look at relationships like humans do. Like, here is what Doctor Gary Chapman shared in his recent newsletter:

"Sometimes we fall into a negative mindset that keeps us from being our best in relationships. Here's an example: "I’ll treat them better when they start treating me better.” Such an attitude misses out on the power of unconditional love. Unconditional love is the choice to love someone else no matter how they treat you.

If you are married, say to your spouse, “I’ve been thinking about our marriage, and I realize that I have loved you conditionally. When you are kind to me, I tend to be kind to you. When you help me, I help you. I think that love requires more than that. I sincerely want to learn to love you no matter what. I want to make a fresh commitment to our marriage. I am going to ask you to give me one suggestion each week for what I can do to make your life better. Whatever you suggest, I’m going to do my best to do it.”

Get a pencil and paper and write down their suggestion. To the best of your ability, do it. If you do, you will be well on the way toward unconditional love."

The thing that makes us different as a Catholic man, as a CMCS-Man, is how we intentionally live out unconditional love through the scriptures, and the Ten Commandments, with our role in the mission of the Church to make disciples.

A Woman's heart should be so hidden in God that a man has to see Him just to find Her.

Women were not created to do what men can do. Women were created to do what men cannot.

Gen. 2:18 - The LORD God said: It is not good for the man to be alone. I will make a helper suited to him.

[2:18] Helper suited to him: lit., “a helper in accord with him.” “Helper” need not imply subordination, for God is called a helper (Dt 33:7; Ps 46:2). The language suggests a profound affinity between the man and the woman and a relationship that is supportive and nurturing.

1 Pte. 3 - Christian Spouses

1* Likewise, you wives should be subordinate to your husbands so that, even if some disobey the word, they may be won over without a word by their wives’ conduct 2 when they observe your reverent and chaste behavior.a 3 Your adornment should not be an external one: braiding the hair, wearing gold jewelry, or dressing in fine clothes,b 4 but rather the hidden character of the heart, expressed in the imperishable beauty of a gentle and calm disposition, which is precious in the sight of God. 5 For this is also how the holy women who hoped in God once used to adorn themselves and were subordinate to their husbands; 6 thus Sarah obeyed Abraham, calling him “lord.” You are her children when you do what is good and fear no intimidation. 7 c Likewise, you husbands should live with your wives in understanding, showing honor to the weaker female sex, since we are joint heirs of the gift of life, so that your prayers may not be hindered.*

[3:7] Husbands who do not respect their wives will have as little success in prayer as those who, according to Paul, have no love: their prayers will be “a resounding gong or a clashing cymbal” (1 Cor 13:1). Consideration for others is shown as a prerequisite for effective prayer also in Mt 5:23–24; 1 Cor 11:20–22; Jas 4:3. After all, whatever the social position of women in the world and in the family, they are equal recipients of the gift of God’s salvation. Paul is very clear on this point, too (see 1 Cor 11:11–12; Gal 3:28).

Husbands - If your love is motivated by God, your wife will know it, and it will be reflected in the climate of your relationship.

[story-time-with-han]

Chapter 2: A New Way of Living

Date: 5 June 1898 - Journal entry of Lee Edward Walton

Things aren’t so bad having her, Jessamine, along. The past couple weeks in my journey west it’s been nice to have company. Makes me wonder why I’ve been travelling alone for so long. She’s intelligent and energetic, more so than some of the ladies my old gang used to bring about, and she’s lovely… Very Lovely… Still, she makes camp feel like home. She seems to hold some dark secrets within her person. Not that I am a saint, I just wonder what she could be hiding. Why does she carry iron, and why is she so far from home?

We stopped off about five in the evening on our way to Tombstone where he had some business and decided to make camp. I jumped off the wagon eager to stretch my legs. We’d been travelling on and off for about three weeks.

“Goodness! It feels as though we’ve been on the road forever.” I exclaimed, I couldn’t help but notice him smile watching me pat his horse. He climbed down from the seat disappearing from my view as I continued to talk to the horse.

“Odin you handled that so well, you’re such a good boy.”

“Jessa, if you wanna start I’ll help you set up before I run to the station to pick up some things.” He called over from the back of the wagon. I hurried over setting my satchel off the side. We set up his old military cover tent and the cots first, always need shelter first and foremost. As he pulled out a crate, I’m assuming his weapons chest and let Odin off the reins, I went to start a fire.

“Lee? Do you suppose you could bring this for repairs if possible?”I walked over to him, revolver in hand.

“Where’d you come across this? It’s a wonder you haven’t gotten hurt yet.”

My brow creased and I saw red with anger until he interrupted. “The hammer is damaged and this thing looks as if it hasn’t been cleaned in months.” I sighed and then looked away.

“It’s my father’s gun. I stole it before I left. I didn’t know what kind of people I’d come across so I figured I’d need it.” My voice got lower, upset at the thought of what had transpired in my past, but quickly changed my demeanor so he wouldn’t catch on.

Lee looked back at the gun, then up at me before chuckling to himself.

“I can certainly see what I’ll be able to do for you. But for now let’s finish making camp.”

Looking back up at him I smiled and continued on with my work. I was smiling so much I didn’t pay attention, tripping and stumbling over my skirt a little. I grabbed a bit of rope from the wagon and tied it up so I could easily move about. After an hour of setting up we sat down by the fire, I pulled two tin cups out of the tent and decided to brew us some coffee. Lee told me then that he would be going out to the trading post not far from where we were so he could get some supplies, and that he wouldn’t be gone more than an hour or two.

“Okay, in the meantime I can make us a meal and keep things tidy.” I beamed at the idea that I’d be useful to him in the ways of making him comfortable and keeping him fed.

So he saddled up, strapping a rifle to his back. As he climbed into the saddle I strutted over and placed my hand on his knee.

“You come back safe now. You hear?”

He laughed, “Miss I won’t be gone long. I promise.” I thought I saw him blush a little as he turned his face away from me. The sky turned from a lovely mix of pink and orange to dark blue hues as he rode away. I stood watching until his silhouette disappeared on the horizon.

I went to work as soon as I lost sight of him. Digging through our provisions I managed to find just enough for tonight's meal, just a simple stew, but hearty for sure. The sun had long set when I finished. I checked the pocket watch in my satchel, 8 o’clock. The stars began to peek out from behind small bursts of clouds and a full moon overhead. The lonesome cry of coyotes rang in my ears, they were not far away and began to worry. I went to the wagon to see what I could find weapons wise. Picking up a rolling block rifle in my hands, it seemed useful. Looking around there lay a bandolier with ammo off to the side. I picked up the bandolier, running my fingertips along the dark, soft worn leather.

“Well… I don’t think he will mind if I borrow these.” I muttered to myself. Suddenly there was a thundering of hooves coming up close, I ducked down in fear. They stopped right in front of our camp. There were at least 3 disembodied voices all belonging to men, They started to circle the camp shouting and cursing.

“Marshal! Marshal you here?” A deep, raspy voice called out. Another one in a nasally tone “I don’t think he’s here. Let’s move on.” I ducked down as far as I could go in the wagon and covered myself with a wool blanket. Scratchy as all hell but I needed some sort of cover. The third voice called out a little further away from the first two, I could barely make out what he said but his voice sounded belligerent as if angry with Lee. They circled the camp once more, coming close to the wagon. I held my breath, fearful they would find me.

“Where could that bastard be!?” The first voice shouted. Then they rode off fast, yet still frightened I stayed under the blanket for a while longer until I deemed it safe.

“Shit… Not worth that trouble…” I mumbled to myself as I climbed out of the wagon. I stepped lightly over to the fire to check the stew I made when Lee came riding back up. He smiled and waved so I ran over.

“Thank goodness you’re back, there were some men here looking for you and-” He put his finger to my lips and shushed me. I crossed my arms, squirming a little.

“Jessa, listen to me. Those men are rangers, word is starting to get around that I’m traveling with you and they’re here to find out why. Did they see you?” I was more frightened now by his voice. He kept it hushed and stern. I shook my head no, taking a sharp breath and looking up at him. He let me go quickly, sheepishly looking at the ground. Then he noticed the leather bandolier and rifle strapped to me and his tone softened, a smile breaking out across his face.

“What in God’s name are you doing with those?” He shook his head at me and I let out a laugh looking down blushing hard. I swear if my face were any redder, my cheeks would be tomatoes.

“Well I, I heard coyotes. I figured if they came close I might be able to scare them off.” I shrugged. It was silent for a moment until Lee gave a boisterous, full laugh, so much so that I laughed along with him. It felt nice to laugh this way.

After taking the saddlebags off his horse he walked over to me and sat down by the fire and I handed him a dish. “Eat up, you look absolutely starved.” I smiled at him turning to prepare my own plate. He chuckled a little.

“Jessamine I’ll eat when I know your plate is done as well.” he quickly replied. So I finished filling my plate with the little bit I felt like eating and sat down beside him, uneasy for some reason.

“There.” I remarked with a small laugh, “now you can go on ahead and eat.” I jokingly nudged him. We sat in silence for a few moments while we ate, he served himself another helping before setting his plate off to the side.

“Jessa, I got you something.” He reached into one of the bags that he'd grabbed off the saddle and pulled out something wrapped in linens.

“What's that?” My nose scrunched up in confusion as I took it in my hand and slowly unwrapped the package. I was taken by surprise by what lay in the wrappings. A blackened steel Navy Revolver in a black leather holster. A small gasp escaped my lips, my fingertips running along the engraved barrel. He asked me if I felt alright. My eyes burned a little, becoming wet with tears. I turned so he couldn’t see.

“Lee I am more than alright. This is, this is amazing.” Shaking from happiness, I could barely contain my smile. I felt glad to have this, instead of my father’s old gun. He smiled as well,

“I know it’s not your old mans but I just thought having something of your own would make you feel safer,” he lowered his voice immensely, “it would make me feel better too, knowing you’re safe if I'm not around.” I looked up at him, he was staring at me with a solemn frown. Concerned, reaching for his hand again but quickly pulling away before I did. I assured him I could take care of myself. He stared at me, such a longing in his eyes.

Here comes that silence again, swallowing us up with no end in sight.

“Thank you, so much. This really means a lot to me.” I murmured, trying to keep from crying further. Weary, shaking my head I stood up and headed for the tent. He called my name again. “I have something else for you.” I looked back and he held tightly to another parcel, this one had a brown paper wrapping and twine rope tying it up. I sat back down, my cheeks getting hot again even though I sat nowhere close to the flames. His cheeks flushed a little as well as he handed me this second gift.

“Why are you doing all of this?” I asked meekly, “we barely know each other.”

He didn’t answer, he just handed me the package and smiled again.

“Just open it.” He playfully remarked, brushing the hair from my face. There was that feeling again, the heart racing and the nervousness around him. God, I am such a fool to feel this way about a practical stranger still. I slowly unwrapped the paper, trying not to damage it as I could use it for something else.

Gasp

“Lee, oh my goodness…” Out from the packaging, a red poplin dress. I ran my fingertips along the smooth fabric, admiring the shiny black buttons. “It’s beautiful, I don’t believe I’ve ever had such a lovely dress.” Almost speechless and shaking again, how could this be happening to someone like me?

“Try it on then Jessa, I hope it fits well.” His eyes shone in the firelight with such an excitement that I felt couldn’t be contained. I stood up, making sure not to touch the fabric to the ground and went to the tent, closing the flaps of it behind me.

I laughed to myself, such lovely gifts from a lovely man. It seemed I could be the luckiest girl in the world to be with him at this time. He was shuffling about the camp cleaning. Slipping out of the current dress I was wearing, glad to be rid of that thing for a moment. It still smelled to me of the smoke and liquor of that old saloon. I once again stroked the new dress, feeling the softness of the fabric and admiring the color. Such a beautiful garment, I wanted to just hang it up and admire it forever. Lee called out from outside the tent.

“Everything okay? Do you need any help?” He chuckled. I started to laugh again.

“You just mind your business, mister, I’ll be out in a moment.”

I slipped the dress on over my head, buttoning each button slowly up to my neck. I struggled for a minute pulling my hair out of the collar and had to redo my braid before opening the tent up.

“Lee?” I stepped out into the night air, “what do you think?” I adjusted the long skirt and looked up at him playing with the end of my hair. He fell back against the wagon in surprise, giggling and I walked over and hesitantly took his hand.

“Jessamine, you look beautiful. Absolutely beautiful.” I’d never heard his voice so light and airy. Every little bit of happiness swelled up inside of me, I couldn’t help but stare at him though. The fire light made him seem so ethereal. He spun me around as if we were dancing, I felt so comfortable with him at this moment.

How wonderful this new adventure was turning out to be.

[sigmaleph]

Book recs masterpost

y’all really came through here, thanks! Here’s a collected version, I will continue to update it if recs keep coming. Format will be a little inconsistent but I will try to keep books by the same author together and give the summary if it exists and who provided the rec.

Under a cut cause it gets long:

Gene Wolfe:

The Fifth Head of Cerberus

Three interconnected novellas about life on an authoritarian twin planet system where humans have apparently wiped out the natives. Superbly well written and thoughtful imo

rec by @femmenietzsche

Book of the New Sun 

rec by @napoleonchingon

Octavia Butler:

Dawn, rec by @empresszo, @typicalacademic

Parable of the Sower, rec by @st-just

Kindred, rec by @squareallworthy

Angelica Gorodischer:

Kalpa Imperial

epic fantasy in the style of conan the barbarian, we see the stories of an old empire in some nondescript country, a nondescript amount of millenia ago. small vignettes of different time periods within the country. very light in fantasy, basically an entire book of nothing but lore for a D&D campaign

Trafalgar

comedy sci fi. the life stories of a sales man, a guy who goes door to door selling whatever he can, except IN SPACE. all the stories are framed as him in his little bar in rosario with his friends or drinking mate, telling his latests adventures through space.

La saga de los confines by  Liliana Bodoc

lord of the rings except instead of taking inspiration from nordic folk tales is based on the american conquest. see fantasy races and cultures based on the native american population from south america. lots of poetry, lots of cool classic fantasy with a fresh new flavor

(Already read)

la batalla del calentamiento by marcelo figueras

the fantasy here is very understated to the point of it being magical realism but still my top three favourite book of all time. it starts with a man who suffers gigantism receiving a message from heaven delivered by a wolf speaking in latin. the most colorful and endearing little town with the most wacky of habitants open their arms to the guy who is desperatly in search of redemption

homestuck (by Andrew Hussie)

there is really nothing i can say about this that you havent already heard, so im not even going to bother. just give the first arc (which is about a hundred pages long) a change and see where it goes from there

All of the above suggestions by @fipindustries

Ada Palmer. Terra Ignota series (starts with Too Like the Lightning) (seconded by @youzicha)

(read the first one, have the second one but haven’t read it yet)

Jo Walton, Thessaly series (starts with The Just City)

Yoon Ha Lee, Machinaries of Empire series (starts with Ninefox Gambit) (seconded by @terminallyuninspired)

Ann Leckie:

Imperial Radch series (Starts with Ancillary Justice) (seconded by @youzicha and @squareallworthy)

Raven Tower

N. K. Jemisin:

Broken Earth trilogy (starts with The Fifth Season) (seconded by @typicalacademic)

Dreamblood duology (starts with The Killing Moon)

Seth Dickinson, Masquerade series (starts with The Traitor Baru Cormorant)

(Good rec, already read the first one)

Jeff Vandermeer, Southern Reach series (starts with Annihilation)

Victor LaValle, The Ballad of Black Tom

Tamsyn Muir, Gideon the Ninth

Arkady Martine, A Memory Called Empire

M. R. Carey, The Girl With All The Gifts

All of the above by @st-just

Le guin:

The Dispossessed, rec by @st-just, @youzicha

The Left Hand of Darkness, rec by @youzicha and @typicalacademic

both also seconded by @squareallworthy

(I love Le Guin, read both of these)

Zelazny: Lord of Light, rec by @st-just

Charles Stross:

Missile Gap.

A Colder War.

Peter Watts, Blindsight

Bruce Sterling, Heavy Weather. (I assume. There are multiple books named such)

All of the above by @youzicha

Fonda Lee, Jade City

Richard K. Morgan, Altered Carbon

Shining Path, more thorough rec here.

all by @typicalacademic

Lois McMaster Bujold:

the Vorkosigan Saga

(rec by @omnidistance, seconded by @squareallworthy. Already read all of them, excellent choice)

The Curse of Chalion, rec by @theorem-sorry

Greg Egan:

Permutation City

Orthogonal

above two and “anything else” by him, rec by @saelf

Diaspora, rec by @squareallworthy

The Clockwork Rocket

Physicist discovers relativity in a Riemannian (as opposed to Minkovskian) universe. Also the world is ending.

rec by @jackhkeynes

Chesterton, The Man Who Was Thursday

Dick, The Man in the High Castle

Gaiman, American Gods

Gibson, Count Zero

Heinlein, The Moon is a Harsh Mistress.

Liu, The Three Body Problem

Mitchell, Cloud Atlas

Niffenegger, The Time Traveler’s Wife

Niven and Pournelle, Footfall

North, The First Fifteen Lives of Harry August

Powers, The Anubis Gates

Wilson, Spin.

All of the above by @squareallworthy

Pratchett, Discworld books (going postal, thud!, unseen academicals, or the wee free men recommended by @acertainaccountofevents, Wyrd Sisters rec’d by @squareallworthy)

Neal Stephenson, Cryptonomicon & D.O.D.O.

Ted Chiang, Story of Your Life and anything else by him

To Say Nothing of the Dog by Connie Willis (also suggesting this review)

 C.J. Cherryh – The Faded Sun Trilogy.

Honestly not sure there’s anything groundbreaking or unique about it but a solid scifi tale with aliens and politics and it really fleshed out and made me empathize with all the opposing and strikingly different factions.

Taiyao Fujii – Orbital Cloud

A space-related technothriller, quite fun! If you liked the first 2/3rds of Seveneves you’ll probably like this.

Gwynneth Jones – Life.

Story of a woman trying to be the best biologist she can despite a lot of setbacks, bascially. Barely counts as science fiction, really, but I just really like Anna and Spence as characters and their relationship. This a very feminist book, at times quite preachy–but personally it came across as characters being preachy not the author, and therefore much less annoying, but ymmv.

Katherine Addison – The Goblin Emperor.

Fantasy high politics but nice? Like also pretty level headed but not grimdark like fantasy high politics usually is. Also love the worldbuilding, the linguistics, and my precious cinnamon role Maia who deserves good things.

The Long Way to a Small Angry Planet

River of Teeth by Sarah Gailey

the most tumblr print book I have ever read. TBH the cover blurb is better than the book but it’s a quick read and enjoyable.

Paolo Bacigalupi - The Windup Girl.

Ian MacDonald – The Dervish House.

The twenty-minutes-into-the-future setting has aged weirdly since it was written back when Turkey was trying to join the EU, but I reread it recently and the plot and characters are still compelling.

All of the above by @businesstiramisu

"James S. A. Corey", The Expanse series (rec by @justjohn-jj)

Mariam Petrosyan’s The Grey House

kids and minders in a boarding school for the disabled, their relationships and their setting. Mostly a coming-of-age thing but with a lot of weirdness and some fantastic elements. Extremely readable

Arkady and Boris Strugatsky:

Hard to be a God

Inhabited Island

Roadside Picnic

Stanisław Lem:

Fiasco

Cyberiad

Karim Berrouka’s Fées, Weed & Guillotines

what it says on the tin. Pretty fun. I would suspect his other fantasy mystery novel comedies are good too.

The Invisible Planets anthology

extremely hit or miss, but definitely has its hits.

Bernard Weber’s Les Fourmis

All of the above by @napoleonchingon

The Murderbot Diaries - Martha Wells

Sarcastic cyborg tries to avoid humans and watch entertainment media all day and perpetually ends up saving some. With all the snark.

rec by @rhetoricandlogic

The First Fifteen Lives of Harry August, Claire North

Guy is born in 1910s, dies at 80 or so… and is born again in the 1910s, and so on. Also the world is ending.

The End and Afterwards, Andy Cooke

A probe to Alpha Centauri, an idealist Nigerian biotechnician, a humdrum English family – and then the world ends.

Against Peace and Freedom, Mark Rosenfelder

50th century interstellar humanity is mostly doing okay. But socionomics doesn’t cover crises, such as the dictatorship that’s taken over Okura, or the unscrupulous tycoon who’s plotting something over on New Bharat. For that we have Diplomatic Agents. Like you.

all of the above by @jackhkeynes

Meta-recommendations:

worldswithoutend.com, their list of lists, and in particular, defining science fiction books of the 50s, 60s, 70s, 80s, and 90s.

@squareallworthy

Jo Walton’s Revisiting the Hugos series. (by @businesstiramisu)

[aion-rsa]

Frankenstein Adaptations Are Almost Never Frankenstein Adaptations

https://ift.tt/346GA1J

In an age of adaptation, we still don't have a faithful adaptation of Mary Shelley's classic genre novel.

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Mary Shelley's gothic novel Frankenstein is a story constantly being retold — but almost never has it been retold faithfully. In 2015, we got Victor Frankenstein, the latest in screen adaptations bearing the Frankenstein name, but having little to do with the original text. 

This habit of less-than-faithful adaptations of Shelley's work goes back a long time. The history of Frankenstein adaptations is the history of hodgepodge narrative parts continually being stitched, torn, and re-stitched back together into an amalgamation of what has come before. But, when "before" is 200 years of stage and screen adaptations, source material and inspiration bleed together, and the "original" becomes distorted — like a game of temporal telephone. 

But past the narrative convolution that comes with the passage of time, Frankenstein has seemingly always been a text that eschews faithful adaptation. From the very beginning, on the stage and as one of the first films ever made, Mary Shelley's original vision of a man and the creature he created has rarely been its own...

How Frankenstein Came to Be

For those with an interest in English literature, feminism, or the birth of modern science fiction, perhaps the story of how Frankenstein came to be is as famous as the book itself. The basic tale was first written down by an 18-year-old Mary Shelley (then Mary Wollstonecraft Godwin) in 1816 while she and lover/future husband Percy Shelley were visiting Lord Byron in Switzerland.

Dubbed “The Year Without a Summer,” the eruption of Mount Tambora had the Europe of 1816 in the clutches of a volcanic winter, leaving the idle group with little to do in the form of outdoor recreation while staying near Lake Geneva. 

read more: The Bleeding Heart of Dracula

Instead, the literary colleagues took to reading German ghost stories to one another, leading to the challenge that they each pen their own ghost story. And thus, one of the first works of modern science fiction was born. Frankenstein, as a full novel, would be published anonymously two years later on New Year's Day in 1818.

Do you Know the Story of Frankenstein?

For those unfamiliar with the source material, Frankenstein is an epistolary novel, told in a series of letters from Captain Robert Walton to his sister, as well as in his journal entries (it should be noted that this narrative framing very rarely makes it into screen or stage adaptations).

Glory-driven Walton is on an Arctic expedition when his crew finds a cold and broken Victor Frankenstein. They pull him aboard, and Dr. Frankenstein relays the story of the monster he created to Walton--the monster he is pursuing across the ice.

It is a story of creation and abandonment and family. The Creature is arguably much more of the heroic, sympathetic protagonist here than Frankenstein, whose sin is not in playing God (though some have made that argument) but rather in leaving his creation alone in a confusing, cruel-to-difference world.

Unlike so many of his on-screen interpretations, the Creature of the novel is eloquent, thoughtful, and — at least at first — inspired by the beauty of the natural world. Later, he uses his gift for language to articulate his anguish, telling Frankenstein, "I am content to reason with you. I am malicious because I am miserable. Am I not shunned and hated by all mankind? You, my creator, would tear me to pieces and triumph; remember that, and tell me why I should pity man more than he pities me?"

The First Frankenstein Plays and Movies

If none of this plot or backstory sounds familiar, it’s probably not your fault. (Well, you could read Frankenstein, which is one of those classics that holds up remarkably well.) Most screen adaptations pick and choose what they want from the original material, more often drawing inspiration from the 1931 movie starring Boris Karloff than Mary Shelley.

read more: 13 Forgotten Frankenstein Movies

But a full two decades before director James Whale made the iconic horror film, Frankenstein was already a movie star — in fact, the story was one of the first committed to film. Frankenstein's adaptation to the screen happened roughly a decade after cinema itself was invented, making this self-admittedly "liberal adaptation" from Edison Productions one of the first movies ever.

Video of FRANKENSTEIN (1910 Edison Production) HD

One of the notable changes form the novel in the 12-minute film is a happy ending for Frankenstein and his new wife, Elizabeth (spoiler alert: in the book, the Creature kills Elizabeth on their wedding night, and Frankenstein himself later dies on the ice. Pretty bleak).

Of course, the decision to make Frankenstein into one of Edison's earliest motion picture productions did not happen in cultural isolation. There is an adaptation path to be traced between the publication of the novel and the creation of films like this 1910 classic and the 1931 version.

According to this Film School Rejects article, 1823 — the first year Frankenstein was adapted to the stage — had five separate plays on the stage. It was these early stage adaptations that first introduced the character of Victor Frankenstein’s assistant Fritz, who would later evolve into the Igor we know from so many later movie adaptations. 

The Boris Karloff film actually drew inspiration from a 1927 stage play by Peggy Webling, rather than the novel itself. And, moving forward into the era of such classics like Young Frankenstein or not-classics like the recently-released Victor Frankenstein, one could easily argue that most subsequent Frankenstein adaptations have more to do with James Whale’s 1931 film — and its 1935 sequel The Bride of Frankenstein — than they do with Shelley’s work.

The Most Faithful Adaptations to Mary Shelley's Frankenstein

Though many Frankenstein adaptations are more interested in the 1931 film or some action-oriented blockbuster (yes, I, Frankenstein, I'm looking at you), there have been attempts at a more faithful version over the years.

Kenneth Branagh took a stab at a faithful retelling of Frankenstein with his 1994 film Mary Shelley's Frankenstein. The movie does a slightly better job articulating the nuances of the Creature than most other adaptations, but still falls short of the mark. The film also changes the ending in a particularly jarring way, not only bringing the Creature's bride to life, but giving her Elizabeth's head and memories. Yikes.

David Crow makes a good argument on this site that Penny Dreadful's interpretation of the Creature in the form of Caliban is one of the most faithful versions of the character ever brought to screen.

Everything from the Monster's raven hair to his loquacious love for John Milton was transferred to television in tact. However, if you're looking for an adaptation that not only takes on the iconic character, but the full story, I would recommend the National Theatre's stage version undertaken in 2011.

British film director Danny Boyle brought Frankenstein to the stage starring Benedict Cumberbatch and Jonny Lee Miller. The two well-known actors alternated the roles of Victor Frankenstein and the Creature every performance, creating a more literal thematic connection between the two characters. Two sides of the same coin. Two creatures eventually brought down by their guilt, hate, and anger.

The production was a relatively close adaptation of the original novel (with the problematic addition of a rape scene), and was broadcast to cinemas around the world through National Theatre Live, meaning that this adaptation, in some sense, was also a screen one.

However, the performance has yet to be released on DVD and, according to the theater, never will be if the play's creators have anything to say about it. The Powers That Be prefer that the ephemerality of the performance be preserved. One can only hope this means Frankenstein will find its way to cinemas again for more encore performances.

Why Does Frankenstein Resist Faithful Adaptation?

Why is Frankenstein so rarely adapted with a sense of fidelity? One need look no further than the earliest stage adaptation — Presumption: or the Fate of Frankenstein (1823) — to at least partially answer that question. Chris Baldick's book In Frankenstein's Shadow details how the play made great efforts to appease conservative backlash (many found the novel subversive and atheistic).

read more: A History of Frankenstein Comics

The production was nonetheless boycotted by a "friends of humanity" group, prompting the play's management to release the following statement: "The striking moral exhibited in this story is the fatal consequence of that presumption which attempts to penetrate beyond prescribed depths, into the mysteries of nature." 

Furthermore, director Richard Brinsley Peake introduced the Frankenstein's assistant character who "prepares the audience to interpret the tale according to received Christian notions of sin and damnation by telling them that 'like Dr Faustus, my master is raising the devil.'"  

Almost two centuries later, Daniel Radcliffe plays an incarnation of this character designed to explain to the audience how they should feel about Frankenstein's playing God in Victor Frankenstein. 

The Importance of the Female Perspective

As the daughter of anarchist philosopher William Godwin and feminist Mary Wollstonecraft (who died 11 days after Mary's birth), Mary Shelley was a fascinating woman, one with much to say in a culture not-so-interested in what women had to say about it. 

One of the reasons Frankenstein so endures is because of its examination of the arrogance of man and the failings of a world without empathy — a theme that, of course, can be explored by anyone, but one that doesn't seem to get a lot of play in works undertaken by privileged white men.

It seems important to note, at this point, that most of the Frankenstein adaptations (though certainly not all) have been undertaken by men who are perhaps less culturally-motivated to consider the more traditional way life is brought into this world. After all, due to the limitations Western society places on both genders, while science has historically been a man's domain, child-rearing has, historically, been a woman's.

Journalist Sady Doyle recently responded to Victor Frankenstein director Paul McGuigan's recent assertion that Mary Shelley's original work is "dull as dishwater," by outlining the convincing theory that Mary Shelley wrote Frankenstein as a sort of revenge for her sister Fanny (given name: Frances), who was abused for being illegitimate and eventually killed herself, writing in her suicide note: "You will soon forget there was ever such a creature as..."

There are many interpretations of the Frankenstein story — many of them autobiographically-based. This is one of the reasons it is such a good story. But a parent's neglect and the toll it plays not only on the child, and everyone in his life, is certainly a central one. And one that is often neglected in Frankenstein adaptations in favor of exploring the themes of science, nature, and man's hubris specifically in relation to his work. These interpretations are not mutually exclusive, but the latter is often valued over the former.

It is perhaps easy to look at Frankenstein, and its two male protagonists, and to adapt it with little attention to the importance of women and other socially-devalued characters in the story. After all, they are all periphary characters. But they are the characters who suffer the most. Or at least the ones who suffer the most with the least amount of power to change their fates.

Victor and his Creature are constantly suffering, but they have created their own suffering and have many chances to alter their own destinies. Elizabeth and the Creature's female companion are never granted that same power.

The Future of Frankenstein Adaptations

As this Den of Geek article points out, faithfulness does not equate to quality. Some of the most faithful screen adaptations of books are the worst, while some of the least faithful adaptations can become something better. There are too many variables involved, too many possible permutations to make sweeping generalizations. And, in the world of Frankenstein adaptations, for example, Whale's 1931 film remains the classic, one that continues to influence culture in its own important ways.

However, it would be nice to get a modern Frankenstein adaptation that is more readily available than Danny Boyle's stage version and more complete than Penny Dreadful's Creature — if only for all the high school English teachers who need something to show when they are out sick.

Sadly, as far as I know, there are currently no faithful Frankenstein adaptations in the works. What is happening in the Frankenstein adaptation world? Recently, a whole lot of biopics about Mary Shelley. In 2017, Elle Fanning played the author in Mary Shelley, a conventional biopic that told the story of the relationship between the young author and Percy Shelley, as well as the ways in which Mary Shelley felt out of step with her time. The film boasted a female writer, Emma Jensen, female producers, and a female director, Haifaa Al-Mansour (Wadja).

Elsewhere, HBO Max has ordered a series called The Shelley Society from Riverdale/Sabrina showrunner Roberto Aguirre-Sacasa. The series will depict a young version of Mary Shelley, who moonlights as a hunter of monsters and supernatural threats (including a manifestation of Mary’s own literary creation, Frankenstein’s Monster).

Perhaps a continued interest in Mary Shelley's fascinating life will eventually drum up some excitement for a more faithful retelling of her most famous story. In the mean time, we'll have to make do with what we've got: one of the best genre novels of the last few centuries.

Kayti Burt is a staff editor covering books, TV, movies, and fan culture at Den of Geek. Read more of her work here or follow her on Twitter @kaytiburt.

Read and download the Den of Geek NYCC 2019 Special Edition Magazine right here!

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Nov 21, 2019

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[ivanstarenkome-blog]

Post #15

1. I think we should be able to appreciate Wagner’s music while still acknowledging his shortcomings as a person-- those don’t have to be mutually exclusive. One shouldn’t have to be friends with someone to be able to appreciate their art, although there’s certainly a line that should be drawn there. Wagner had extremely problematic views, but these views weren’t reflected in his art and I don’t think he caused the world such harm that his art can’t be enjoyed. If the likes of Hitler made art, then I wouldn’t be interested in supporting that in any way. Wagner’s art should be able to be enjoyed, but people have to come to terms with his Antisemitism with that. I think we grow as a society from both of those initiatives, and making Wagner’s work taboo removes the opportunity for either. Professor HaCohen, from the Hebrew University of Israel, outlined this when she spoke to the Times of Israel, saying, “when it is performed in public, it always needs to be embedded in a framework that critically discusses the worldview of its composer in relation to the works performed and their reception and impact.” The other controversial issue surrounding Wagner’s works is their appropriation by Hitler. Although that is an unfortunate part of their history that should absolutely be reckoned with, I think Wagner’s works are much larger than only that aspect. Daniel Barenboim writes in “Wagner, Israel and the Palestinians,” “ When one continues to uphold the Wagner taboo today in Israel, it means in a certain respect that we are giving Hitler the last word.” The legacy of Wagner’s works belongs to the world now and I don’t think we should let that end with Hitler.

1. In the documentary “Wagner and Me,” Wagner’s Antisemitism is discussed by the academics and musicians that Steven Fry talks to. Professor Chris Walton, for instance, voices the notion that Wagner seemed to need an enemy or some disturbance to motivate his art and that this makes confronting Wagner very unpleasant and far from easy. Still, he says that this doesn’t take away the greatness of Wagner’s music. Valery Gergiev, Artistic and General Director at the Mariinsky Theatre in Saint Petersburg, says that Wagner is an international artist and his stories are stories of the world with themes larger than any single country. The Ring shouldn’t simply be associated with the Nazis and, if it can be performed in Saint Petersburg aftter WWII, then it could be performed anywhere. Stephen Fry says Wagner was very important to Hitler’s vision for the world but Hitler only saw one side of Wagner and that that’s the side that most people look at today as well. It’s also Wagner’s descendants’, like his daughter-in-law Winifred, welcoming and revering Hitler (long before the rest of Germany) which taints Wagner for many today. His remaining descendants today, however, are launching an independent investigation into their family’s links with Hitler to settle the matter. A recent production of “Parsifal” at Bayreuth also adapted the story to incorporate the Holocaust. Finally, Steven Fry talks to Anita Lasker-Wallfisch, who survived Auschwitz at the age of 18 because she was a gifted cellist who performed Wagner for Dr. Mengele. Still, music is holy to her and this experience didn’t ruin Wagner for her.

2. Wagner was banished for being a left-wing nationalist revolutionary (he was liberal but Antisemitic) and lived on Lake Lucerne for 12 years, from when he was 35 to 47 from 1849 to 1861. It was here that he wrote about the Gesamtkunswerk, started writing the Ring, and wrote his Antisemitic essay on Jews in music. The Ring took over 20 years before it was finished and performed. Wagner’s Antisemitism may have been partially due to his jealousy of the success of Jewish composers like Mendelssohn and Meyerbeer.

Wagner’s forbidden love for the wife of his patron family, Mathilde Wesendonck, inspired his opera “Tristan und Isolde.” Wagner wrote and dedicated a song “Traeume” to Mathilde, which became the love duet in act II of “Tristan und Isolde.”

The Tristan Chord creates tension because it doesn’t perfectly resolve and it’s simultaneously uplifting and depressing, since some of the voices resolve upwards and others resolve down.

Wagner was the first composer to compose with his back to the audience. 

Hitler’s rallies in Nuremberg may have been inspired by a rally scene in the third act of Wagner’s opera “die Meistersinger von Nuremberg.” The music from the opera, which Hitler loved and would often whistle, was performed at the Nazi rallies.    

1. “Lohengrin” is loosely based off of events in 933 A.D., in which King Henry the Fowler of Saxony united various German principalities to defend their lands against Hungarian invaders. The opera, however, also includes fantasy tropes like an evil witch and a knight in shining armor saving a damsel in distress.

2. The description of Lohengrin as “an artist, somewhat above the world but not above needing love” certainly fits my impression of Wagner’s self image and I wouldn’t put it past him to depict himself in one of his operas as a holy knight in shining armor.  

3. An overture contains themes from the music of the opera, whereas a prelude doesn’t as much.

4. Elsa is accused of killing her brother Gottfried and for having a secret lover.

5. After being banished at the end of Act I, Telramund is in the courtyard of Antwerp Castle at the start of Act II.

6. Ortrud is Pagan and worships old Norse and Germanic gods like Woden and Freia. 

7. Elsa feels unworthy of being with Lohengrin and feels like he will leave her and go back to the holy and glorious place he’s from that she can’t compete with. Eventually she can’t help herself and she asks him his name.

8. Lohengrin kills Telramund when he attacks him in his honeymoon suite and Ortrud dies as Lohengrin’s swan transforms into Gottfried (?). Elsa dies from sadness (?) as Lohengrin sails away at the very end. 

9. eh.

10. Since, after Thomas Mann said the score to Lohengrin reminded him of blue and silver, it’s been a tradition for the production to be in blue and silver and I think that would be interesting to see. I hope Lohengrin’s entrance on the swan-drawn boat is as ridiculous as possible and that the costumes are really over-the-top and fantastical and not understated, more contemporary costumes that are sometimes used in recent opera productions. 

[ninja-muse]

Urban Fantasy Recommendation Masterpost

This is a list of the urban fantasies I’ve enjoyed most over the years, split down a few lines and to be updated as I discover new series. I’m also including contemporary fantasies because the lines often blur. Hope you find something you like on it!

$ for LGBT characters £ for characters of colour € for characters with disabilities * for potentially problematic depictions of the above ! for #ownvoices (all based on my slightly spotty memory, so feel free to correct if I’ve missed something)

World-Focused

or stories that spend most of their time steeping you in the magical world

American Gods - Neil Gaiman £

Shadow Moon gets out of jail and is hired by the cagey Mr. Wednesday to … he’s not really clear, honestly, but it puts him in the path of people who may or may not be gods. Multiple mythologies.

Among Others - Jo Walton €!

A 1980s teen flees her troubled home in Wales to get to know her birth father and attend an English boarding school. Is her mother’s family able to work magic or is it just wishful thinking? Reading science fiction might give her the answers. British folklore and faeries, and a very interesting take on magic.

The Boggart - Susan Cooper

A Canadian family inherits a Scottish castle inhabited by a mischievous boggart—who then stows away and finds himself in Toronto. Scottish folklore.

The Bone Clocks - David Mitchell £

The life of a woman from teen-hood to old age as she lives her life and occasionally intersects with an ancient war between good and evil, fought with telepathy and other things that look a lot like magic.

The Changeling - Victor Lavalle £ !

After his infant son is violently attacked, Apollo Kagwa, used bookseller, descends into the hidden world of New York in search of his vanished wife.

The City We Became - N.K. Jemisin - $ £ ! for race

New York City, newly alive, is being attacked, and six humans, no longer quite human, must do everything in their power to save their city.

the Dark is Rising series - Susan Cooper €*

A group of English kids—four siblings, a seventh son, and a boy who might be a reincarnated Arthur—versus the forces of darkness. Five books, only the last of which includes all the kids. Cornish and English folklores, Arthuriana.

Gods Behaving Badly - Marie Phillips

The Greek pantheon now lives in North London and is as dysfunctional as ever. Artemis walks dogs. Aphrodite does phone sex. Apollo is a washed-out TV psychic who’s just fallen, via Eros, for the cleaning lady—who’s trying to date someone else, thank you very much. Greek mythology.

The Golem and the Jinni - Helene Wecker £

A golem and a jinni both find themselves in turn-of-the-century New York, both literally and figuratively. A beautiful exploration of the immigrant experience, friendship, and identity. Jewish and Arabic folklore.

Good Omens - Terry Pratchett and Neil Gaiman

A mostly-good angel and mostly-wicked demon discover they’ve been training the wrong Antichrist days before the scheduled apocalypse. The real Antichrist wants a dog and to save the whales. Also features a legacy witch, a rookie witch-finder, the Four Horsemen, the Four Other Horsemen, Satanic nuns, and a Queen soundtrack. Christian mythology.

The Hunter’s Moon - O.R. Melling

A Canadian teen visiting her Irish cousin ends up mounting a cross-country road trip to retrieve her cousin who’s run off with the faeries. Irish mythology.

The Left-Handed Booksellers of London - Garth Nix $£

In the summer of 1983, Susan Arkshaw travels to London to find her birth father. What she discovers is a family of magical booksellers, and an Old World that’s very much alive.

Middlegame - Seanan McGuire

Roger and Dodger are exceptionally gifted, telepathically linked, and a little more than natural. James Reed will stop at nothing to use them, or people like them, to get ultimate power. Alchemy, time travel, and portal fantasies are involved.

Neverwhere - Neil Gaiman £

Richard Mayhew has it all: a good job, a hot fiancée, a nice flat. Then he helps an apparently homeless girl with the power to create doors and is pulled into the magical community below London. Nothing will ever be the same.

Of Blood and Honey and And Blue Skies From Pain - Stina Leicht

It’s tough, living in Northern Ireland during the Troubles, and Liam finds it harder than most. No one trusts him, he can’t find work, everyone wants him to choose a side, and to cap it off, he feels like a monster is inside him and knows something inhuman is stalking him and his. The war between the Fey and the Fallen is heating up, and the only people keeping peace are an order of priests—who also, surprise, want Liam’s help. Irish and Christian mythology.

The Sixth World series - Rebecca Roanhorse $£€ ! 

Maggie Hoskie is a Monsterslayer of Dinétah, but she’d rather not be. Even rescuing a kidnapped girl is supposed to be a one-shot deal. But the monster’s a new one, an apprentice medicine man’s attached himself to her, and Coyote’s around, so of course it’s not that simple. Navajo mythology.

Son of a Trickster - Eden Robinson £€ !

Jared’s life sucks. He’s sixteen, living in a crap house in a crap town with crap prospects. He’s paying his dad’s rent with weed money. His mom’s more interested in parties than holding down a job. His only friend’s a pit bull. And just when he thinks that’s as low as it gets, a raven shows up and say he’s Jared’s real dad. Heiltsuk (and other First Nations) mythology and folklore.

Sparrow Hill Road - Seanan McGuire

Rose Marshall, the Phantom Prom Date, the Ghost of Sparrow Hill Road, hitches her way from coast to coast while dealing with paranormal problems and route witches—and avoiding Bobby Cross, the immortal who killed her.

Sunshine - Robin McKinley

Rae is a baker. Tough and practical and smart, but a baker. Who’s just rescued herself and a vampire from captivity using magic she’d half-forgotten she had. Unfortunately, the master vampire’s still after them, the magical police know something’s up, and she just wants to keep being normal. Includes mild, realistic PTSD and a whole lot of delicious desserts.

An Unkindness of Magicians - Kat Howard

The Turning has started in New York and every magician in the city has their own reason for entering the tournament—power, status, acknowledgement, revenge, revolution. The high stakes would be enough for anyone, but it’s starting to look like there’s something suddenly wrong with magic, too.

Witches of Ash and Ruin - E. Latimer - $ £ € *

Dayna wants to be a witch, live her life, and block her OCD thoughts so she doesn’t have to deal with them. Then scary but gorgeous Meiner and her coven roll into town prophesying Bad Things, and a serial killer reappears who seems to target witches and shit. Meet. Fan. Themes of family and abuse.

Ysabel - Guy Gavriel Kay

Ned Marriner’s tagging along with his photographer dad to Provence when he begins to notice magic awakening around him. There’s an ancient love triangle that‘s repeated throughout history, using contemporary locals as proxies—and it’s very interested in Ned, his new friend Kate, and his father’s entourage.

Mystery-Focused

or stories that spend most of their time solving a magical crime

The Arcadia Project series - Mishell Baker $£€ !

Millie’s nearly broke, scarred, a double amputee, mentally ill, and Done with all the BS around that. She’s also despairing of ever resuming her directing career, so when a mysterious woman offers her a job with her temp agency, she’s intrigued. What wasn’t mentioned? She’ll actually be an immigration agent working with the Fae of Hollywood, and one of them’s just gone missing.

the Blood series - Tanya Huff $£€

Vicky Nelson is the pinnacle of the tough, no-nonsense PI—which poses a bit of a problem when she’s hired to catch a “vampire” on the streets of Toronto and then actually meets one. (He writes romance novels.)

the Felix Castor series - Mike Carey $*

Felix Castor is an exorcist. A hard-drinking, down-at-the-heels exorcist in a London brimming with ghosts and demons. Unfortunately, he never seems to get the easy cases where he can just waltz in and play a tune—and his past mistakes might be coming back to haunt him.

Dirk Gently’s Holistic Detective Agency and The Long, Dark Tea-Time of the Soul - Douglas Adams

Dirk Gently solves mysteries by wandering around, getting into strange situations, and then connecting dots no one believes even exist. Like time traveling robots and Romantic poets, or rampaging eagles and mold-ridden refrigerators.

The Grendel Affair - Lisa Shearin £

Makenna Fraser is a seer working for Supernatural Protection and Investigations in New York. “Seer” meaning she can spot the ghoulies and ghosties few people can, including her coworkers. When an off-the-books gnome removal turns into a blood-soaked crime scene, she and her partner are handed the case—but will her eagerness to prove herself just land her in hotter water?

the Greta Helsing series - Vivian Shaw $£

Dr. Greta Helsing serves the undead of London. Her best friends are vampires and demons. The boundaries between worlds are thinning, causing all manner of metaphysical trouble. Plays with 1800s horror classics; equal parts sensible, disturbing, and funny.

the Greywalker series - Kat Richardson $£

Harper Blaine prides herself on rationality and unflappability, but after briefly dying on a case, she’s suddenly wrong-footed and seeing ghosts everywhere. In the middle of all that, she’s hired by a mysterious voice to track down an organ that’s more than it seems, and suddenly haunted street corners are the least of her problems.

the Incryptid series - Seanan McGuire $£

Meet the Price family, a close-knit group of cryptozoologists whose mission is to protect and preserve endangered cryptids like dragons, gorgons, and the religious Aeslin mice from humans. They’re also hiding from the Covenant of St. George, a.k.a. why the cryptids are endangered in the first place. Technically paranormal romance.

the Iron Druid series - Kevin Hearne £

Atticus O’Sullivan is a herbalist and seller of New Age paraphernalia by day, two-thousand-year-old druid by night. He thought moving to Arizona would keep him safe from gods bent on revenge. He thought wrong. Multiple mythologies.

Last Call at the Nightshade Lounge - Paul Krueger $£€ !

Bailey Chen is fresh out of business school, broke, and living with her parents. When a childhood friend offers her a job as a barback, she takes it as a stopgap—but then she discovers the secret cabal of bartenders who fight demons using magical cocktails and after that, there’s no looking back.

Moonshine - Alaya Johnson £

Zephyr Hollis, a charity worker and ESL teacher in 1920s New York, and therefore flat broke, takes a side job from a student, Amir, without asking questions. But will the vampire mob, the drug-crazed vamps, Amir’s literal smoking hotness, or her family history do her in first?

Night Owls - Lauren M. Roy $

Valerie is a vampire with a successful campus bookstore. Elly grew up fighting monsters and fearing for her life. When their paths collide via a book in Elly’s keeping, they must unite to prevent said monsters from unleashing hell and then some.

the October Daye series - Seanan McGuire $£€

Toby Daye wants sleep, coffee, and for everyone to leave her alone already—not necessarily in that order. Unfortunately, as a changeling Knight and PI with a knack of finding people and solving problems with maximum chaos, none of those things will ever be easy to come by. Multiple folklores.

the Olympus Bound series - Jordanna Max Brodsky $£

Selene di Silva’s been keeping her head down for a long time, shutting herself off not just from New York, but from the world. (Being a former goddess will do that.) But then she stumbles on the body of a woman who’s been ritually sacrificed and her past as Artemis comes rising up again. Greek and Roman mythology

the Rivers of London series - Ben Aaronovitch $£€

When Constable Peter Grant meets a ghost at a crime scene, it’s only logical for him to take a witness statement. When DCI Thomas Nightingale learns of this, he offers him a job as an auror the sorcerer���s apprentice a valued member of a magically-focused police unit. London, its river goddesses, various magic workers, assorted Fae, and the Metropolitan Police will never be the same.

the Shadow Police series - Paul Cornell $£

Following the mysterious death of a suspect, four Metropolitan Police officers are drawn into London’s sinister magical underworld in their hunt for a killer.

the Smoke series - Tanya Huff $*£

Tony Foster’s found his footing as a PA on a Vancouver-shot vampire show. Unfortunately, the paranormal weirdness that is his life continues and it’s somehow up to him to save the day.

Unholy Ghosts (and following) - Stacia Kane £*

Chess Putnam works as a Church exorcist, partly out of obligation and partly for the pay, which goes to fuel her drug addiction. Unfortunately, no ghosts are nice ghosts and her private life keeps intruding on her cases.

the Watch novels - Terry Pratchett

Ankh-Morpork is the citiest of fantasy cities. Its City Watch is a bunch of misfits. Sam Vimes isn’t putting up with any nonsense. Somehow, they fight crime.

Zoo City - Lauren Beukes £

Zinzi December is a con artist and occasional finder of lost things who lives in the Johannesburg slums with her sloth familiar. Her latest case? Find a pair of missing teen pop stars—before the apparent assassins do.

[the-culture-of-modernity]

“Darkness then came over me… as I now suppose, the light poured in upon me again”

Light and Dark symbolism in Frankenstien.

The use of light and dark in Frankenstein has caused arguments between Literary scholars as to what it can mean. Some argue that the light represents mental clarity for Frankenstein and his Monster. The light appears in moments of the novel when characters have epiphanies, when Frankenstein discovers philosophy for the first time, he announces "A new light seemed to dawn upon my mind.", when he later on creates the monster, he claims that it is as if “a sudden light broke in upon me”. These are all good moments in Frankenstein’s life and the light that comes with it help to affirm his position in the universe to himself. These moments are replicated with some other character like Walton who travels to Antarctica to discover the secrets of the universe in a place he refers to as the “Country of Eternal light”. Light is associated with change and development for our characters.

We see reference to the classic myth of Icarus and Light. They are too blinded by their own successes to understand that where there is light (positive moments in life) there is also darkness (negative moments in life). This balance is something that none of our protagonists have managed to balance. Pathetic fallacy is used with dark stormy weather after Frankenstein’s brother is killed, to help readers make connections between Darkness and Evil. Or alternatively, this scene is a vision that Frankenstein has with these dark conditions that could show the ignorance of the creator (of both the vision and the monster). The imagery was common of authors of the romantic period and is used to show the powe and beauty of the natural world. The romantic writers focused on ideas of the grandeur of the natural world and championing emotions. The modernistic element comes from ideas about the threat of advanced knowledge or scientific invention and the risks that come with it that are evidenced through the novel.

Darkness in the novel is used as a way to show the evil in life. The light within the novel links to knowledge and the pursuit of, whereas darkness shows the result of the knowledge and its downfalls. Darkness in reality cloaks what we know and what we can understand, it obscures our views just as those represented in darkness are often misunderstood in the novel. The monster hides in a hovel next to the cottage, to hide himself from the villagers who run away at his unsightly appearance, he is simply misunderstood and hides himself in the darkness away from people. This darkness can also symbolise the despair of humanity, the characters are detached from reality that they end up in the darkness at some point in their lives.

The book is subtitled “The modern Prometheus” a reference to the Greek God of fire and mischief who is punished by Zeus for giving fire to mankind. Victor, attempting to become a modern Prometheus, is certainly punished, but unlike fire, his “gift” to humanity knowledge of the secret of life remains a secret.’ This myth has often had many retellings by different people, who all said different things about the creation of man. Some argue that Prometheus is simply the god who brought fire to man, others argue that the light and fire was all that he brought. Regardless of the retelling of the myth, it is easy to see that Frankenstein is intended to be portrayed as Prometheus.

[ladyherenya]

For the last decade, I’ve been writing reviews and then condensing those to create <100 word summaries that I added to my reading record and, in recent years, also posted here. It’s an oddly satisfying process, but it’s time consuming.

So I’m experimenting with just copying across the key sentence(s) from each of my reviews instead.

Reread: Beginner’s Luck by Kate Clayborn, The Flatshare by Beth O'Leary and Act Like It by Lucy Parker.

Total: thirteen novels (including two audiobooks and three rereads), one novella (audiobook), and one comic volume.

Cover thoughts: The cover for After the War is Over caught my attention.

Still haven’t finished: Between Silk and Cyanide by Leo Marks or Or What You Will by Jo Walton.  

Next up: Pawn in Frankincense by Dorothy Dunnett.

My full reviews are on Dreamwidth and LibraryThing.

*

The Disorderly Knights by Dorothy Dunnett (narrated by David Monteath): Historical, set in 1550s in Scotland and Malta (etc). Sequel to The Game of Kings and Queen’s Play.

Intense and compelling, and… wow.  4½ ★

*

Love Her or Lose Her by Tessa Bailey: Contemporary romance.

I think I’d like to read a romance which portrays going to counselling more seriously? This was interesting  enough to finish but not really my thing.

*

A Most Improper Magic by Stephanie Burgis: Regency-era children’s fantasy.

Kat, a feisty twelve year old, attends a houseparty with her older sisters; various hijinks ensure. Charming. I intend to read the sequels. 3 ★

*

Rachel’s Secret by BJ Hoff: Amish romance, set in 1850s.

If this hadn’t been a gift from a relative, I might have felt able to   donate it to a secondhand store without reading it first. I liked the initial situation – an Amish widow looks after a critically-injured riverboat captain – but became a bit frustrated as the story progressed. 2½ ★

*

Goodnight From London by Jennifer Robson (narrated by Saskia Maarleveld): Historical, set in London during WWII.

Ruby, a young American journalist, is sent to work for a London magazine. Occasionally I wished for more poetic prose, witty dialogue or nuanced   characters – but most of the time I was too caught up in the story to be critical. 3 ★

*

The Fall of Ile-Rien trilogy by Martha Wells: Fantasy, parallels worlds. A generation after The Death of the Necromancer, Ile-Rien is at war.

The Wizard Hunters:

This was unexpectedly reminiscent of Wells’ Books of the Raksura – the action-driven pace of the story; the personalities and group dynamics, and especially the imaginative worldbuilding. It took a few chapters but I became completely engrossed. 3½ ★

The Ships of Air:

Much of this takes place on  a 1930s-eque ocean liner, a unique setting for a fantasy. I kept expecting something more from the personal developments but still found the story engrossing and read the third book straightaway. 3 ★

The Gate of Gods:

As if it had heard my small grumbles about the previous book, this felt a lot more personal. A tense and satisfying conclusion. 3½ ★

*

Runaways: But You Can’t Hide (volume 4) by Rainbow Rowell and Andrés Genolet: Marvel superhero comics.  Sequel to Find Your Way Home, Best Friends Forever and But That Was Yesterday.

I enjoyed this, especially the found-family and moments of reflection, but came away thinking Oh, is that all? Six issues only allows for so much to happen! 3 ★

*

Across the Green Grass Fields by Seanan McGuire (narrated by Annamarie Carlson): Coming-of-age portal fantasy. Standalone in the Wayward Children series.

Ten year old Reagan steps through a doorway by the river – and finds herself in the Hooflands, where everyone assumes it must be her  destiny to save the world.  The ending is a little abrupt but otherwise this is quite satisfactory. 3 ★

*

After the War is Over by Jennifer Robson: Historical, set England in 1919, with flashbacks. Not officially a sequel but features characters from Somewhere in France (which I haven’t read).

A series of snapshots of the life of Charlotte Brown, an educated unmarried woman of thirty-three, living and working in Liverpool. Interesting and enjoyable, but I was aware of definite tendency for things to be resolved neatly. Because with so much going on, there wasn’t room for exploring complexities? 3 ★ 

*

Their Finest Hour and a Half by Lissa Evans: Historical, set in England during WWII.

This is about making a British propaganda film during WWII, an aspect of history I hadn’t seen addressed in fiction before! That was satisfying and fascinating. And as if it had heard my criticisms of the novel I’d read the day before, very little is readily resolved! I mostly liked the ending and certainly don’t regret reading this – I read it all in an afternoon! – but I came away feeling a bit flat. 3½ ★

[itsmiracleshappenblog]

Miracles Made Easy - The 4 Kinds Of Miracles as well as How To Create them in Your Life

Wonder A: Mini Miracle There are 4 kinds of miracles. This is the baby or the mini-miracle action miracle. Last week I was wandering down the bread aisle at the supermarket, asking yourself when my kid Anton's basketball video game was and I ran into an additional mother on the team who recognized the response right after that. Writer Jean Shonoda Bolen says, "Synchronicity can pave the way for individuals integrating. By untangling the scenarios where 2 individuals meet to get in a substantial connection, the fragile, hidden hand of destiny, destiny, synchronicity or underlying Tao can be determined." Put simply, she's describing this sort of miracle. Possibly you discover the appropriate publication at the correct time, as claims mythologist William Irwin Thompson, "An university can supply you with a library, but what makes guide you are not looking for diminish the shelf and right into your hands?" When I was penniless, my wonders were straightforward, such as finding extra adjustment concealed in my pockets when I had just lacked money for food. When we did not own umbrellas, raincoats or hats, a miracle was obtaining a ride to and from college for my youngsters during the rainy season. I strolled a couple of miles a day in the cool San Francisco rainfall. My friend Lalo could not birth to see me so oppressed, and also he acquired me a beat up, salvaged 1981 Volvo that spit fumes. The auto became my Golden Red Chariot-- my wonder vehicle. It didn't matter that the roofing system dripped as well as the cars and truck had no warmth. It ran. We had transportation! Thanksgiving and also Christmas were celebrated, when we miraculously obtained gifts of turkey and also trimmings. A neighbor knocked on my door with a made up story concerning winning an extra turkey at work. Right. A mommy from the college handed me a gift certificate for a ready-made dinner, total with stuffing. Think me, you might never ever encourage me that wonders do not exist, due to the fact that I experienced them also throughout the bleakest of moments. What comprises a miracle to one person might go unnoticed by another. Everyone will certainly have a somewhat different definition of what a wonder suggests to them personally. That's why I call everything that is favorable that comes my way a miracle. Wonder B: The "Lucky" Miracle The 2nd type of wonder is what some consider luck, good lot of money or large coincidence. You might say that Sam Walton was fortunate to have actually been successful in creating Wal-Mart and also Sam's. To become fortunate, in the genuine feeling, is to end up being purposeful, mindful, instinctive, listening to your responses and also going with your own feeling of rhythm in the direction of a destination. I identify it as a wonder, due to the fact that as you create this aura of winning, occasionally it appears as though the best of luck happens at just the correct time. It could feel like divine intervention that saved your life. Was that good luck or a miracle? Did God do it or did you? Individuals who are continually lucky appear outwardly a regimented and also focused approach on the inside. They are normally following a mission, a voice, an intuitive suspicion, and they are concentrated on persevering. They have created the attitude, the mixture, and the dirt for their wonder. Bear in mind, the universe will certainly send us what we request. Simply that morning I had actually revealed a need to locate raw foods. 3 hrs later on I meet a male who runs a firm that imports raw foods from 3rd world nations and markets them to significant all-natural food stores. That we survived is a major miracle. 2001 was the bleakest year in my entire life. The children and also I determined to not commemorate Christmas. We had no stomach for additional disappointments. My lawyer asked me just how I handled shedding everything as well as being minimized to food stamps as well as hardship. I needed to tell him. I created him a letter. The letter came to be a three web page dual spaced 1000 word short article. With a remarkable sense of flexibility, I e-mailed the piece to 6 papers, 3 in California, and also 3 in New York City, my birth place.

[ethanalter]

Your guide to all the video game Easter eggs in the new 'Tomb Raider' movie

Alicia Vikander as Lara Croft in Tomb Raider. (Photo: Warner Bros./courtesy Everett Collection)

Warning: This post contains spoilers for the new Tomb Raider film.

When one tomb door closes, another opens. At the end of Tomb Raider — the new reboot of the video game-derived film franchise that swaps in Alicia Vikander for Angelina Jolie as adventurer Lara Croft — our heroine believes her days of merrily dodging subterranean booby traps to be over. Turns out they’re just getting started. A surprise gift left behind by her dearly departed dad, Richard Croft (Dominic West), clues her in on exactly who her next opponent will be … and it’s a name that, along with several other Easter eggs buried in the Roar Uthaug-directed film, will be instantly familiar to those who have been vicariously tomb-raiding alongside Lara in her recent video game exploits.

In the closing moments of the movie, Lara is peering through the multitude of files contained in her father’s secret lair (hidden — where else? — inside his tomb) and comes across a box labeled “Trinity.” Inside she discovers Richard’s research into this shadowy organization, whose tendrils are spread all over the globe, including inside the Croft-run corporation Croft Holdings. And the person responsible for getting Trinity through the company’s doors is none other than Ana Miller (Kristin Scott Thomas), her father’s trusted adviser and the woman who looked out for Lara following her mother’s death and Richard’s disappearance. Throughout the film, Ana has been pushing Lara to sign documents officially designating her missing father as deceased, and this climactic revelation explains why: Through Ana, Trinity now effectively has control of her dad’s legacy, and she has another perilous mission in front of her.

Lara Croft discovers her father’s secret lair behind his tomb. (Photo: Ilzek Kitshoff/Warner Bros./Courtesy Everett Collection)

Both Trinity and Ana play major roles in the relaunched Tomb Raider mythology that started (again) with the self-titled 2013 video game introducing the “Survivor Timeline,” a back-to-basics continuity set during Lara’s early tomb-raiding days. (The previous timeline encompassed roughly a dozen games, released between 1996 and 2010.) In fact, the new film borrows much of its plot directly from that game. Tomb Raider players will recognize the movie’s chief villain, Mathias Vogel (Walton Goggins), a trigger-happy bandit looking to dig up the remains of the mythical Japanese queen Himiko — another character that’s been ported straight out of the Xbox. In a notable departure from the source material, though, Lara also finds her father on the island, and they conspire against Mathias as they navigate the dangers of Himiko’s tomb, a journey that only the younger Croft ultimately survives.

Having witnessed Richard’s final moments, and bidding him a tearful goodbye, Lara returns to civilization finally able to sign on the dotted line that declares her father dead. But she stops short of assuming control of Croft Holdings herself, instead asking Ana to be the de facto boss. As she pores over the list of companies her father owned, one name stands out: Patna — the same name emblazoned on all the supplies Mathias and his goons carted about. That word leads her to the aforementioned “Trinity” box where Richard stashed whatever information he had been able to uncover before his now permanent exile on Yamatai. It looks like Richard had only scratched the surface, but here’s what we know Lara is up against from the game: Founded in the early anno Domini era, the Order of Trinity seeks out ancient (and secretly powerful) religious relics for use in its mission of shepherding the entire world under the banner of a single god. And if doing that results in the destruction of entire cultures and faiths, that’s only a logical — and perfectly acceptable — outcome.

Unlike Trinity, Richard Croft’s main goal during his life was to preserve the totems he excavated from tombs, using them as evidence of lost folklore and myths he wanted to bring back into the public consciousness. So, to undermine his work, they planted a mole in his organization who answers to the name of Ana. Introduced in the 2015 sequel, Rise of the Tomb Raider, Ana collaborated closely with Richard on his research, a relationship that soon turned personal. (In contrast, Ana’s cinematic counterpart is depicted as having been more of a maternal guardian to Lara — whose mom, Amelia, died when she was young — than a paramour to Richard.) Lara discovers Ana’s actual identity midway through the game, and the two women then race each other to the lost Russian city of Kitezh to find the Divine Source, a doodad that is rumored to let its owner live forever. Not surprisingly, Lara wins that race, but opts to remain mortal; for her part, Ana is mortally wounded by a sniper, an ending that will presumably be the jumping-off point for the next game, Shadow of the Tomb Raider, set for release in September.

Vikander as Lara Croft and Kristin Scott Thomas as Ana Miller, a video game villain making the leap to the big screen. (Photo: Christian Black/Warner Bros./Courtesy Everett Collection)

We’ll have to wait and see where Lara’s next cinematic adventure takes her. Good thing that, wherever she travels, she’ll be packing serious heat. A post-credits sequence uncovers the movie’s final Easter egg: how Lara acquires the signature dual pistols she’s been carrying around since 1996. Making a quick trip to her local pawn shop (run by none other than Nick Frost of Cornetto Trilogy fame) to buy back the necklace her father gifted her, she spots a secret backroom filled with guns. She forces her way inside, surveys all the firepower on display, and settles on two Heckler & Koch USP Matchs — the same guns Jolie wielded when she raided tombs in the earlier films — and strikes a classic Croftian pose. She’s discovering what video game players already know: Being a tomb raider is a real blast.

Read more from Yahoo Entertainment:

Padded bras, drug tests, and sexual harassment: The turmoil you didn’t know about the original ‘Tomb Raider’

Alicia Vikander is body-shamed over ‘Tomb Raider’ — and the internet is fighting back

How Alicia Vikander put on 12 pounds of muscle for ‘Tomb Raider’ transformation

[thorndale-industries]

A VERY DESCRIPTIVE PROFILE OF YOUR MUSE.   repost with the information of your muse,  including headcanons,  etc.  if you fail to achieve some of the facts,  add some other of your own !

NAME.   Dr. Gillian Emily Thorndale NICKNAME(S).   Gil ALIAS(ES).   Cerberus, Mrs. Black, Mrs. Majestic AGE.   33 (HR), 35 (MD), 58 (DX1), 78 (DXIW) SPECIES.   Human. GENDER.   Female ORIENTATION.   Bisexual INTERESTS.   God, there are many. But in general, it’s the persue of knowledge and understanding, something that also heavily incluences her hobbies. She is the kind of person who wants to dissect simply everything around her - to understand the system it’s built on and where its weaknesses are in order to optimize them. Order, harmony, those are the things that she always needs around her. PROFESSION.   CEO EYES.   Blue & Green. HAIR.   White  SKIN.   Very pale, might look sick FACE.   Strong cheeks and jaw HEIGHT.    1,78m/ 5'10" COMPANIONS.   Robert (husband), Hunter (bodyguard and close friend), Walton (colleague) ANTAGONISTS.   The Illuminati COLORS.   Bordeaux red  and black. FRUITS.   Kiwis DRINKS.   Earl Grey tea. ALCOHOLIC BEVERAGES?   Yes. SMOKES?   Yes. DRUGS?   No. DRIVERS LICENSE?   Yes

NAME.   Robert Page NICKNAME(S).   Bob, Bobert, Robs ALIAS(ES).   Mr. Black, Mr. Majestic, Super Massive Arsehole AGE.   37 (HR), 39 (MD), 62 (DX1), 82 (DXIW) SPECIES.   Human. GENDER.   Male ORIENTATION.   Bisexual INTERESTS.   Being a God? It’s obvious that Robert is a huge narcissist who perceives himself as the “saviour” of mankind. I wouldn’t call him power hungry in the classic sense, but he has a very clear vision how humanity and the world should be, and in order to make that happen, certain steps are simply necessary. He despises everyone who dares to not share his views, his gifts. He strives for perfection.  PROFESSION.   CEO EYES.   Red & Green. HAIR.   Auburn SKIN.   Pale, but with a healthy tan FACE.   Rather square with strong cheeks and distinctive contours HEIGHT.     6'0" / 182 cm COMPANIONS.   Gillian (wife), Walton (right hand) ANTAGONISTS.   The Illuminati COLORS.   charcoal and black. FRUITS.   Apples DRINKS.   Regular coffee, shakes, juices ALCOHOLIC BEVERAGES?   Yes. SMOKES?   Yes. DRUGS?   No. DRIVERS LICENSE?   Yes

Tagged by: @slave-949

Tagging: You know the drill, just steal it.

[report47]

Grammy Nomations 2020 (see complete list)

The 2020 Grammy Awards nomination list has been released and its a big win for Nigeria because Burna Boy's boy 'African Giant' album made the list.   Lizzo led the pack with eight nods, while Billie Eillish and Lil Nas X took the second spot with six nominations each for the 62nd Grammy Awards which will be held on January 26 at Staples Center in Los Angeles, California.   Burna Boy was nominated in the World Music album category alongside African music legend Angelique Kidjo.   See the complete list below;   Record Of The Year “Hey, Ma” — Bon Iver “Bad Guy” — Billie Eilish “7 Rings” — Ariana Grande “Hard Place” — H.E.R. “Talk” — Khalid “Old Town Road” — Lil Nas X Featuring Billy Ray Cyrus “Truth Hurts” — Lizzo “Sunflower” — Post Malone & Swae Lee Album Of The Year “I, I” — Bon Iver “Norman F—ing Rockwell!” — Lana Del Rey “When We All Fall Asleep, Where Do We Go?” — Billie Eilish “Thank U, Next” — Ariana Grande “I Used To Know Her” — H.E.R. “7” — Lil Nas X “Cuz I Love You” (Deluxe) — Lizzo “Father of the Bride” — Vampire Weekend Song Of The Year “Always Remember Us This Way” — Natalie Hemby, Lady Gaga, Hillary Lindsey & Lori McKenna, songwriters (Lady Gaga) “Bad Guy” — Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish) “Bring My Flowers Now” — Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, songwriters (Tanya Tucker) “Hard Place” — Ruby Amanfu, Sam Ashworth, D. Arcelious Harris. H.E.R. & Rodney Jerkins, songwriters (H.E.R.) “Lover” — Taylor Swift, songwriter (Taylor Swift) “Norman F—ing Rockwell” — Jack Antonoff & Lana Del Rey, songwriters (Lana Del Rey) “Someone You Loved” — Tom Barnes, Lewis Capaldi, Pere Kelleher, Benjamin Kohn & Sam Roman, songwriters (Lewis Capaldi) “Truth Hurts” — Steven Cheung, Eric Frederic, Melissa Jefferson & Jesse Saint John, songwriters (Lizzo) Best New Artist Black Pumas Billie Eilish Lil Nas X Lizzo Maggie Rogers Rosalía Tank and the Bangas Yola POP FIELD Best Pop Solo Performance: “Spirit” — Beyoncé “Bad Guy” — Billie Eilish “7 Rings” — Ariana Grande “Truth Hurts” — Lizzo “You Need To Calm Down” — Taylor Swift Best Pop Duo/Group Performance: “Boyfriend” — Ariana Grande & Social House “Sucker” — Jonas Brothers “Old Town Road” — Lil Nas X & Billy Ray Cyrus “Señorita” — Shawn Mendes & Camila Cabello Best Traditional Pop Vocal Album:   Sì — Andrea Bocelli Love (Deluxe Edition) — Michael Bubl�� Look Now — Elvis Costello & The Imposters A Legendary Christmas — John Legend Walls — Barbra Streisand Best Pop Vocal Album: The Lion King: The Gift — Beyoncé When We All Fall Asleep, Where Do We Go — Billie Eilish Thank U, Next — Ariana Grande No. 6 Collaborations Project — Ed Sheeran Lover — Taylor Swift DANCE/ELECTRONIC FIELD Best Dance Recording: “Linked” — Bonobo “Got To Keep On” — The Chemical Brothers “Piece Of Your Heart” — Meduza & Goodboys “Underwater” — Rüfüs Du Sol “Midnight Hour” — Skrillex & Boys Noize With Ty Dolla $ign Best Dance/Electronic Album: LP5 — Apparat No Geography — The Chemical Brothers Hi This Is Flume (Mixtape) — Flume Solace — Rüfüs Du Sol Weather — Tycho CONTEMPORARY INSTRUMENTAL MUSIC Best Contemporary Instrumental Album: Ancestral Recall — Christian Scott aTunde Adjuah Star People Nation — Theo Croker Beat Music! Beat Music! Beat Music! — Mark Guiliana Elevate — Lettuce Mettavolution — Rodrigo y Gabriela ROCK Best Rock Performance: “Pretty Waste” — Bones UK “This Land” — Gary Clark Jr. “History Repeats” — Brittany Howard “Woman” — Karen O & Danger Mouse “Too Bad” — Rival Sons Best Metal Performance: “Astorolus – The Great Octopus” — Candlemass ft. Tony Iommi “Humanicide” — Death Angel “Bow Down” — I Prevail “Unleashed” — Killswitch Engage “7empest” — Tool Best Rock Song: “Fear Inoculum” — Danny Carey, Justin Chancellor, Adam Jones & Maynard James Keenan, Songwriters (Tool) “Give Yourself A Try” — George Daniel, Adam Hann, Matthew Healy & Ross Macdonald, Songwriters (The 1975) “Harmony Hall” — Ezra Koenig, Songwriter (Vampire Weekend) “History Repeats” — Brittany Howard, Songwriter (Brittany Howard) “This Land” — Gary Clark Jr., Songwriter (Gary Clark Jr.) Best Rock Album:   Amo — Bring Me The Horizon Social Cues — Cage The Elephant In The End — The Cranberries Trauma — I Prevail Feral Roots — Rival Sons ALTERNATIVE Best Alternative Music Album: U.F.O.F. — Big Theif Assume Form — James Blake i,i — Bon Iver Father of the Bride — Vampire Weekend Anima — Thom Yorke R&B Best R&B Performance: “Love Again” — Daniel Caesar & Brandy “Could’ve Been” — H.E.R. & Bryson Tiller “Exactly How I Feel” — Lizzo & Gucci Mane “Roll Some Mo” — Lucky Daye “Come Home” — Anderson .Paak & André 300 Best Traditional R&B Performance: “Time Today” — BJ The Chicago Kid “Steady Love” — India.Arie “Jerome” — Lizzo “Real Games” — Lucky Daye “Built For Love” — PJ Morton & Jazmine Sullivan Best R&B Song: “Could’ve Been” — Dernst Emile Ii, David “Swagg R’celious” Harris, H.E.R. & Hue “Soundzfire” Strother, Songwriters (H.E.R. Ft. Bryson Tiller) “Look At Me Now” — Emily King & Jeremy Most, Songwriters (Emily King) “No Guidance” — Chris Brown, Tyler James Bryant, Nija Charles, Aubrey Graham, Anderson Hernandez, Michee Patrick Lebrun, Joshua Lewis, Noah Shebib & Teddy Walton, Songwriters (Chris Brown Ft. Drake) “Roll Some Mo” — David Brown, Dernst Emile Ii & Peter Lee Johnson, Songwriters (Lucky Daye) “Say So” — Pj Morton, Songwriter (Pj Morton Ft. Jojo) Best Urban Contemporary Album: Apollo XXI — Steve Lacy Cuz I Love You (Deluxe) — Lizzo Overload — Georgia Anne Muldrow Saturn — Nao Being Human In Public — Jessie Reyez Best R&B Album: 1123 — BJ The Chicago Kid Painted — Lucky Daye Ella Mai — Ella Mai Paul — PJ Morton Venture — Anderson .Paak RAP Best Rap Performance: “Middle Child” — J.Cole “Suge” — DaBaby “Down Bad” — Dreamville ft. J.I.D, Bas, J. Cole, Earthgang & Young Nudy “Racks In The Middle” — Nipsey Hussle ft. Roddy Ricch & Hit-boy “Clout” — Offset ft. Cardi B Best Rap/Sung Performance: “Higher” — DJ Khaled ft. Nipsey Hussle & John Legend “Drip Too Hard” — Lil Baby & Funna “Panini” — Lil Nas X “Ballin” — Mustard ft. Roddy Ricch “The London” — Young Thug ft. J. Cole & Travis Scott Best Rap Song: “Bad Idea” — Chancelor Bennett, Cordae Dunston, Uforo Ebong & Daniel Hackett, songwriters (Ybn Cordae ft. Chance The Rapper) “Gold Roses” — Noel Cadastre, Aubrey Graham, Anderson Hernandez, Khristopher Riddick-tynes, William Leonard Roberts Ii, Joshua Quinton Scruggs, Leon Thomas Iii & Ozan Yildirim, songwriters (Rick Ross ft. Drake) “A Lot” — Jermaine Cole, Dacoury Natche, 21 Savage & Anthony White, songwriters (21 Savage ft. J. Cole) “Racks In The Middle” — Ermias Asghedom, Dustin James Corbett, Greg Allen Davis, Chauncey Hollis, Jr. & Rodrick Moore, songwriters (Nipsey Hussle ft. Roddy Ricch & Hit-boy) “Suge” — Dababy, Jetsonmade & Pooh Beatz, songwriters (Dababy) Best Rap Album: Revenge Of The Dreamers III — Dreamville Championships — Meek Mill i am > i was — 21 Savage IGOR — Tyler, The Creator The Lost Boy — YBN Cordae COUNTRY Best Country Solo Performance: “All Your’n” — Tyler Childers “Girl Goin’ Nowhere” — Ashley McBryde “Ride Me Back Home” — Willie Nelson “God’s Country” — Blake Shelton “Bring My Flowers Now” — Tanya Tucker Best Country Duo/Group Performance: “Brand New Man” — Brooks & Dunn with Luke Combs “I Don’t Remember Me (Before You)” — Brothers Osborne “Speechless” — Dan & Shay “The Daughters” — Little Big Town “Common” — Maren Morris ft. Brandi Carlile Best Country Song: “Bring My Flowers Now” — Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, Songwriters (Tanya Tucker) “Girl Goin’ Nowhere” — Jeremy Bussey & Ashley Mcbryde, Songwriters (Ashley Mcbryde) “It All Comes Out In The Wash” — Miranda Lambert, Hillary Lindsey, Lori Mckenna & Liz Rose, Songwriters (Miranda Lambert) “Some Of It” — Eric Church, Clint Daniels, Jeff Hyde & Bobby Pinson, Songwriters (Eric Church) “Speechless” — Shay Mooney, Jordan Reynolds, Dan Smyers & Laura Veltz, Songwriters (Dan + Shay) Best Country Album: Desperate Man — Eric Church Stronger Than The Truth — Reba McEntire Interstate Gospel — Pistol Annies Center Point Road — Thomas Rhett While I’m Livin’ — Tanya Tucker NEW AGE Best New Age Album: Fairy Dreams — David Arkenstone Homage To Kindness — David Darling Wings — Peter Kater Verve — Sebastian Plano Deva — Deva Premal JAZZ Best Improvised Jazz Solo: “Elsewhere” — Melissa Aldana, soloist “Sozinho” — Randy Brecker, soloist “Tomorrow Is The Question” — Julian Lage, soloist “The Windup” — Brandford Marsalis, soloist “Sightseeing” — Christian McBride, soloist Best Jazz Vocal Album: Thirsty Ghost — Sara Gazarek Love & Liberation — Jazzmeia Horn Alone Together — Catherine Russell 12 Little Spells — Esperanza Spalding Screenplay — The Tierney Sutton Band Best Jazz Instrumental Album: In The Key Of The Universe — Joey DeFrancesco The Secret Between The Shadow And The Soul — Branford Marsalis Quartet Christian McBride’s New Jawn — Brad Mehldau Come What May – Joshua Redman Quartet Best Jazz Ensemble Album: Triple Helix — Anat Cohen Tentet Dancer In Nowhere — Miho Hazama Hiding Out — Mike Holober & The Gotham Jazz Orchestra The Omni-american Book Club — Brian Lynch Big Band One Day Wonder — Terraza Big Band Best Latin Jazz Album: Antidote — Chick Corea & The Spanish Heart Band Sorte!: Music By John Finbury — Thalma De Freitas With Vitor Gonçalves, John Patitucci, Chico Pinheiro, Rogerio Boccato & Duduka Da Fonseca Una Noche Con Rubén Blades — Jazz At Lincoln Center Orchestra With Wynton Marsalis & Rubén Blades Carib — David Sánchez Sonero: The Music Of Ismael Rivera — Miguel Zenón GOSPEL/CONTEMPORARY CHRISTIAN MUSIC Best Gospel Performance/Song: “Love Theory”– Kirk Franklin; Kirk Franklin, Songwriter “Talkin’ ‘Bout Jesus” — Gloria Gaynor ft. Yolanda Adams; Bryan Fowler, Gloria Gaynor & Chris Stevens, Songwriters “See The Light” — Travis Greene ft. Jekalyn Carr “Speak The Name” — Koryn Hawthorne ft. Natalie Grant “This Is A Move (Live)” — Tasha Cobbs Leonard; Tony Brown, Brandon Lake, Tasha Cobbs Leonard & Nate Moore, Songwriters Best Contemporary Christian Music Performance/Song: “Only Jesus” — Casting Crowns; Mark Hall, Bernie Herms & Matthew West, songwriters “God Only Knows” — for King & Country & Dolly Parton; Josh Kerr, Jordan Reynolds, Joel Smallbone, Luke Smallbone & Tedd Tjornhom, songwriters “Haven’t Seen It Yet” — Danny Gokey; Danny Gokey, Ethan Hulse & Colby Wedgeworth, songwriters “God’s Not Done With You (Single Version)” — Tauren Wells “Rescue Story” — Zach Williams; Ethan Hulse, Andrew Ripp, Jonathan Smith & Zach Williams, songwriters Best Gospel Album: Long Live Love — Kirk Franklin Goshen — Donald Lawrence Presents The Tri-City Singers Tunnel Vision — Gene Moore Settle Here — William Murphy Something’s Happening! A Christmas Album — CeCe Winans Best Contemporary Christian Music Album: I Know A Ghost — Crowder Burn The Ships — for King & Country Haven’t Seen It Yet — Danny Gokey The Elements — TobyMac Holy Roar — Chris Tomlin Best Roots Gospel Album: Deeper Roots: Where The Bluegrass Grows — Steven Curtis Chapman Testimony — Gloria Gaynor Deeper Oceans — Joseph Habedank His Name Is Jesus — Tim Menzies Gonna Sing, Gonna Shout (Various Artists) — Jerry Salley, producer LATIN Best Latin Pop Album: Vida — Luis Fonsi 11:11 — Maluma Montaner — Ricardo Montaner #ELDISCO — Alejandro Sanz Fantasía — Sebastian Yatra Best Latin Rock, Urban or Alternative Album: X 100PRE — Bad Bunny Oasis — J Balvin & Bad Bunny Indestructible — Flor De Toloache Almadura — iLe El Mal Querer – Rosalía Best Regional Mexican Music Album (Including Tejano): Caminando — Joss Favela Percepción — Intocable Poco A Poco — La Energia Norteña 20 Aniversario — Mariachi Divas De Cindy Shea De Ayer Para Siempre — Mariachi Los Camperos Best Tropical Latin Album: Opus — Marc Anthony Tiempo Al Tiempo — Luis Enrique + C4 Trio Candela — Vicente García Literal — Juan Luis Guerra 4.40 A Journey Through Cuban Music — Aymée Nuviola AMERICAN ROOTS MUSIC Best American Roots Performance: “Saint Honesty” — Sara Bareilles “Father Mountain” — Calexico With Iron & Wine “I’m On My Way” — Rhiannon Giddens With Francesco Turrisi “Call My Name” — I’m With Her “Faraway Look” — Yola Best American Roots Song: “Black Myself” — Amythyst Kiah, songwriter (Our Native Daughters) “Call My Name” — Sarah Jarosz, Aoife O’donovan & Sara Watkins, songwriters (I’m With Her) “Crossing To Jerusalem” — Rosanne Cash & John Leventhal, songwriters (Rosanne Cash) “Faraway Look” — Dan Auerbach, Yola Carter & Pat Mclaughlin, songwriters (Yola) “I Don’t Wanna Ride The Rails No More” — Vince Gill, songwriter (Vince Gill) Best Americana Album: Years To Burn — Calexico And Iron & Wine Who Are You Now — Madison Cunningham Oklahoma — Keb’ Mo’ Tales Of America — J.S. Ondara Walk Through Fire — Yola Best Bluegrass Album: Tall Fiddler — Michael Cleveland Live In Prague, Czech Republic — Doyle Lawson & Quicksilver Toil, Tears & Trouble — The Po’ Ramblin’ Boys Royal Traveller — Missy Raines If You Can’t Stand The Heat — Frank Solivan & Dirty Kitchen Best Traditional Blues Album: Kingfish — Christone “Kingfish” Ingram Tall, Dark & Handsome — Delbert McClinton & Self-made Men Sitting On Top Of The Blues — Bobby Rush Baby, Please Come Home — Jimmie Vaughan Spectacular Class — Jontavious Willis Best Contemporary Blues Album: This Land — Gary Clark Jr. Venom & Faith — Larkin Poe Brighter Days — Robert Randolph & The Family Band Somebody Save Me — Sugaray Rayford Keep On — Southern Avenue Best Folk Album: My Finest Work Yet — Andrew Bird Rearrange My Heart — Che Apalache Patty Griffin — Patty Griffin Evening Machines — Gregory Alan Isakov Front Porch — Joy Williams Best Regional Roots Music Album: Kalawai’anui — Amy H?naiali’i When It’s Cold – Cree Round Dance Songs — Northern Cree Good Time — Ranky Tanky Recorded Live At The 2019 New Orleans Jazz & Heritage Festival — Rebirth Brass Band Hawaiian Lullaby (Various Artists) — Imua Garza & Kimié Miner, Producers REGGAE Best Reggae Album: Rapture — Koffee As I Am — Julian Marley The Final Battle: Sly & Robbie Vs. Roots Radics — Sly & Robbie & Roots Radics Mass Manipulation — Steel Pulse More Work To Be Done — Third World WORLD MUSIC Best World Music Album: Gece — Altin Gün What Heat — Bokanté & Metropole Orkest Conducted By Jules Buckley African Giant — Burna Boy Fanm D’ayiti — Nathalie Joachim With Spektral Quartet Celia — Angelique Kidjo CHILDREN’S Best Children’s Music Album: Ageless Songs For The Child Archetype — Jon Samson Flying High! — Caspar Babypants I Love Rainy Days — Daniel Tashian The Love — Alphabet Rockers Winterland — The Okee Dokee Brothers SPOKEN WORD Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling): Beastie Boys Book (Various Artists) — Michael Diamond, Adam Horovitz, Scott Sherratt & Dan Zitt, producers Becoming — Michelle Obama I.V. Catatonia: 20 Years As A Two-Time Cancer Survivor — Eric Alexandrakis Mr. Know-It-All — John Waters Sekou Andrews & The String Theory — Sekou Andrews & The String Theory Comedy Best Comedy Album: Quality Time — Jim Gaffigan Relatable — Ellen Degeneres Right Now — Aziz Ansari Son Of Patricia — Trevor Noah Sticks & Stones — Dave Chappelle MUSICAL THEATER Best Musical Theater Album: Ain’t Too Proud: The Life And Times Of The Temptations — Saint Aubyn, Derrick Baskin, James Harkness, Jawan M. Jackson, Jeremy Pope & Ephraim Sykes, principal soloists; Scott M. Riesett, producer (Original Broadway Cast) Hadestown — Reeve Carney, André De Shields, Amber Gray, Eva Noblezada & Patrick Page, principal soloists; Mara Isaacs, David Lai, Anaïs Mitchell & Todd Sickafoose, producers (Anaïs Mitchell, composer & lyricist) (Original Broadway Cast) Moulin Rouge! The Musical — Danny Burstein, Tam Mutu, Sahr Ngaujah, Karen Olivo & Aaron Tveit, principal soloists; Justin Levine, Baz Luhrmann, Matt Stine & Alex Timbers, producers (Original Broadway Cast) The Music Of Harry Potter And The Cursed Child – In Four Contemporary Suites — Imogen Heap, producer; Imogen Heap, composer (Imogen Heap) Oklahoma! — Damon Daunno, Rebecca Naomi Jones, Ali Stroker, Mary Testa & Patrick Vaill, principal soloists; Daniel Kluger & Dean Sharenow, producers (Richard Rodgers, composer; Oscar Hammerstein II, lyricist) (2019 Broadway Cast) MUSIC FOR VISUAL MEDIA Best Compilation Soundtrack For Visual Media: The Lion King: The Songs — (Various Artists) Quentin Tarantino’s Once Upon A Time In Hollywood — (Various Artists) Rocketman — Taron Egerton Spider-man: Into The Spider-Verse — (Various Artists) A Star Is Born — Lady Gaga & Bradley Cooper Best Score Soundtrack For Visual Media: Avengers: Endgame — Alan Silvestri, composer Chernobyl — Hildur Guðnadóttir, composer Game Of Thrones: Season 8 — Ramin Djawadi, composer The Lion King — Hans Zimmer, composer Mary Poppins Returns — Marc Shaiman, composer Best Song Written For Visual Media: “The Ballad Of The Lonesome Cowboy” — Randy Newman, songwriter (Chris Stapleton); Track from: “Toy Story 4” “Girl In The Movies” — Dolly Parton & Linda Perry, songwriters (Dolly Parton); Track from: “Dumplin’” “I’ll Never Love Again (Film Version)” — Natalie Hemby, Lady Gaga, Hillary Lindsey & Aaron Raitiere, songwriters (Lady Gaga & Bradley Cooper); Track from: A Star Is Born “Spirit” — Beyoncé Knowles-Carter, Timothy McKenzie & Ilya Salmanzadeh, songwriters (Beyoncé); Track from: “The Lion King” “Suspirium” — Thom Yorke, songwriter (Thom Yorke); Track from: “Suspiria” COMPOSING/ARRANGING Best Instrumental Composition: “Begin Again” — Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza) “Crucible For Crisis” — Brian Lynch, composer (Brian Lynch Big Band) “Love, A Beautiful Force” — Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra) “Star Wars: Galaxy’s Edge Symphonic Suite” — John Williams, composer (John Williams) “Walkin’ Funny” — Christian McBride, composer (Christian McBride) Best Arrangement, Instrumental or A Cappella: “Blue Skies” — Kris Bowers, arranger (Kris Bowers) “Hedwig’s Theme” — John Williams, arranger (Anne-Sophie Mutter & John Williams) “La Novena” — Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra) “Love, A Beautiful Force” — Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra) “Moon River” — Jacob Collier, arranger (Jacob Collier) Best Arrangement, Instruments and Vocals: “All Night Long” — Jacob Collier, arranger (Jacob Collier Featuring Jules Buckley, Take 6 & Metropole Orkest) “Jolene” — Geoff Keezer, arranger (Sara Gazarek) “Marry Me A Little” — Cyrille Aimée & Diego Figueiredo, arrangers (Cyrille Aimée) “Over The Rainbow” — Vince Mendoza, arranger (Trisha Yearwood) “12 Little Spells (Thoracic Spine)” — Esperanza Spalding, arranger (Esperanza Spalding) PACKAGE Best Recording Package: Anónimas & Resilientes — Luisa María Arango, Carlos Dussan, Manuel García-Orozco & Juliana Jaramillo-Buenaventura, art directors (Voces Del Bullerengue) Chris Cornell — Barry Ament, Jeff Ament, Jeff Fura & Joe Spix, art directors (Chris Cornell) Hold That Tiger — Andrew Wong & Fongming Yang, art directors (The Muddy Basin Ramblers) i,i — Aaron Anderson & Eric Timothy Carlson, art directors (Bon Iver) Intellexual — Irwan Awalludin, art director (Intellexual) Best Boxed or Special Limited Edition Package: Anima — Stanley Donwood & Tchocky, art directors (Thom Yorke) Gold In Brass Age — Amanda Chiu, Mark Farrow & David Gray, art directors (David Gray) 1963: New Directions — Josh Cheuse, art director (John Coltrane) The Radio Recordings 1939–1945 — Marek Polewski, art director (Wilhelm Furtwängler & Berliner Philharmoniker) Woodstock: Back To The Garden – The Definitive 50th Anniversary Archive — Masaki Koike, art director (Various Artists) NOTES Best Album Notes: The Complete Cuban Jam Sessions — Judy Cantor-Navas, album notes writer (Various Artists) The Gospel According To Malaco — Robert Marovich, album notes writer (Various Artists) Pedal Steel + Four Corners — Brendan Greaves, album notes writer (Terry Allen And The Panhandle Mystery Band) Pete Seeger: The Smithsonian Folkways Collection — Jeff Place, album notes writer (Pete Seeger) Stax ’68: A Memphis Story — Steve Greenberg, album notes writer (Various Artists) HISTORICAL Best Historical Album: The Girl From Chickasaw County – The Complete Capitol Masters — Andrew Batt & Kris Maher, compilation producers; Simon Gibson, mastering engineer (Bobbie Gentry) The Great Comeback: Horowitz At Carnegie Hall — Robert Russ, compilation producer; Andreas K. Meyer & Jennifer Nulsen, mastering engineers (Vladimir Horowitz) Kankyo Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 — Spencer Doran, Yosuke Kitazawa, Douglas Macgowan & Matt Sullivan, compilation producers; John Baldwin, mastering engineer (Various Artists) Pete Seeger: The Smithsonian Folkways Collection — Jeff Place & Robert Santelli, compilation producers; Pete Reiniger, mastering engineer (Pete Seeger) Woodstock: Back To The Garden – The Definitive 50th Anniversary Archive — Brian Kehew, Steve Woolard & Andy Zax, compilation producers; Dave Schultz, mastering engineer, Brian Kehew, restoration engineer (Various Artists) PRODUCTION, NON-CLASSICAL Best Engineered Album, Non-Classical: All These Things — Tchad Blake, Adam Greenspan & Rodney Shearer, engineers; Bernie Grundman, mastering engineer (Thomas Dybdahl) Ella Mai — Chris “Shaggy” Ascher, Jaycen Joshua & David Pizzimenti, engineers; Chris Athens, mastering engineer (Ella Mai) Run Home Slow — Paul Butler & Sam Teskey, engineers; Joe Carra, mastering engineer (The Teskey Brothers) Scenery — Tom Elmhirst, Ben Kane & Jeremy Most, engineers; Bob Ludwig, mastering engineer (Emily King) When We All Fall Asleep, Where Do We Go? — Rob Kinelski & Finneas O’Connell, engineers; John Greenham, mastering engineer (Billie Eilish) Producer Of The Year, Non-Classical: Jack Antonoff Dan Auerbach John Hill Finneas Ricky Reed Best Remixed Recording: “I Rise (Tracy Young’s Pride Intro Radio Remix)” — Tracy Young, remixer (Madonna) “Mother’s Daughter (Wuki Remix)” — Wuki, remixer (Miley Cyrus) “The One (High Contrast Remix)”– Lincoln Barrett, remixer (Jorja Smith) “Swim (Ford. Remix)” — Luc Bradford, remixer (Mild Minds) “Work It (Soulwax Remix)” — David Gerard C Dewaele & Stephen Antoine C Dewaele, remixers (Marie Davidson) PRODUCTION, IMMERSIVE AUDIO Best Immersive Audio Album: Chain Tripping — Luke Argilla, immersive audio engineer; Jurgen Scharpf, immersive audio mastering engineer; Jona Bechtolt, Claire L. Evans & Rob Kieswetter, immersive audio producers (Yacht) Kverndokk: Symphonic Dances — Jim Anderson, immersive audio engineer; Robert C. Ludwig, immersive audio mastering engineer; Ulrike Schwarz, immersive audio producer (Ken-David Masur & Stavanger Symphony Orchestra) Lux — Morten Lindberg, immersive audio engineer; Morten Lindberg, immersive audio mastering engineer; Morten Lindberg, immersive audio producer (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor) The Orchestral Organ — Keith O. Johnson, immersive audio engineer; Keith O. Johnson, immersive audio mastering engineer; Marina A. Ledin & Victor Ledin, immersive audio producers (Jan Kraybill) The Savior — Bob Clearmountain, immersive audio engineer; Bob Ludwig, immersive audio mastering engineer; Michael Marquart & Dave Way, immersive audio producers (A Bad Think) PRODUCTION, CLASSICAL Best Engineered Album, Classical: Aequa – Anna Thorvaldsdóttir — Daniel Shores, engineer; Daniel Shores, mastering engineer (International Contemporary Ensemble) Bruckner: Symphony No. 9 — Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra) Rachmaninoff – Hermitage Piano Trio — Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Hermitage Piano Trio) Riley: Sun Rings — Leslie Ann Jones, engineer; Robert C. Ludwig, mastering engineer (Kronos Quartet) Wolfe: Fire In My Mouth — Bob Hanlon & Lawrence Rock, engineers; Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic) Producer Of The Year, Classical: Blanton Alspaugh James Ginsburg Marina A. Ledin, Victor Ledin Morten Lindberg Dirk Sobotka CLASSICAL Best Orchestral Performance: “Bruckner: Symphony No. 9” — Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) “Copland: Billy The Kid; Grohg” — Leonard Slatkin, conductor (Detroit Symphony Orchestra) “Norman: Sustain” — Gustavo Dudamel, conductor (Los Angeles Philharmonic) “Transatlantic” — Louis Langrée, conductor (Cincinnati Symphony Orchestra) “Weinberg: Symphonies Nos. 2 & 21” — Mirga Gra?inyt?-tyla, conductor (City Of Birmingham Symphony Orchestra & Kremerata Baltica) Best Opera Recording: “Benjamin: Lessons In Love & Violence” — George Benjamin, conductor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; James Whitbourn, producer (Orchestra Of The Royal Opera House) “Berg: Wozzeck” — Marc Albrecht, conductor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, producer (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera) “Charpentier: Les Arts Florissants; Les Plaisirs De Versailles” — Paul O’Dette & Stephen Stubbs, conductors; Jesse Blumberg, Teresa Wakim & Virginia Warnken; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble) “Picker: Fantastic Mr. Fox” — Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus) “Wagner: Lohengrin” — Christian Thielemann, conductor; Piotr Becza?a, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, producer (Festspielorchester Bayreuth; Festspielchor Bayreuth) Best Choral Performance: “Boyle: Voyages” — Donald Nally, conductor (The Crossing) “Duruflé: Complete Choral Works” — Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir) “The Hope Of Loving” — Craig Hella Johnson, conductor (Conspirare) “Sander: The Divine Liturgy Of St. John Chrysostom” — Peter Jermihov, conductor (Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers) “Smith, K.: The Arc In The Sky” — Donald Nally, conductor (The Crossing) Best Chamber Music/Small Ensemble Performance: “Cerrone: The Pieces That Fall To Earth” — Christopher Rountree & Wild Up “Freedom & Faith” — Publiquartet “Perpetulum” — Third Coast Percussion “Rachmaninoff” – Hermitage Piano Trio — Hermitage Piano Trio “Shaw: Orange” — Attacca Quartet Best Classical Instrumental Solo: “The Berlin Recital” — Yuja Wang “Higdon: Harp Concerto” — Yolanda Kondonassis; Ward Stare, conductor (The Rochester Philharmonic Orchestra) “Marsalis: Violin Concerto; Fiddle Dance Suite” — Nicola Benedetti; Cristian M?celaru, conductor (Philadelphia Orchestra) “The Orchestral Organ” — Jan Kraybill “Torke: Sky, Concerto For Violin” — Tessa Lark; David Alan Miller, conductor (Albany Symphony) Best Classical Solo Vocal Album: The Edge Of Silence – Works For Voice By György Kurtág — Susan Narucki (Donald Berman, Curtis Macomber, Kathryn Schulmeister & Nicholas Tolle) Himmelsmusik — Philippe Jaroussky & Céline Scheen; Christina Pluhar, conductor; L’arpeggiata, ensemble (Jesús Rodil & Dingle Yandell) Schumann: Liederkreis Op. 24, Kerner-lieder Op. 35 — Matthias Goerne; Leif Ove Andsnes, accompanist Songplay — Joyce Didonato; Chuck Israels, Jimmy Madison, Charlie Porter & Craig Terry, accompanists (Steve Barnett & Lautaro Greco) A Te, O Cara — Stephen Costello; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra) Best Classical Compendium: American Originals 1918 — John Morris Russell, conductor; Elaine Martone, producer Leshnoff: Symphony No. 4 ‘heichalos’; Guitar Concerto; Starburst — Giancarlo Guerrero, conductor; Tim Handley, producer Meltzer: Songs And Structures — Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, producers The Poetry Of Places — Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers Saariaho: True Fire; Trans; Ciel D’hiver — Hannu Lintu, conductor; Laura Heikinheimo, producer Best Contemporary Classical Composition: Bermel: Migration Series For Jazz Ensemble & Orchestra — Derek Bermel, composer (Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra) Higdon: Harp Concerto — Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra) Marsalis: Violin Concerto In D Major — Wynton Marsalis, composer (Nicola Benedetti, Cristian M?celaru & Philadelphia Orchestra) Norman: Sustain — Andrew Norman, composer (Gustavo Dudamel & Los Angeles Philharmonic) Shaw: Orange — Caroline Shaw, composer (Attacca Quartet) Wolfe: Fire In My Mouth — Julia Wolfe, composer (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic) MUSIC VIDEO/FILM Best Music Video: “We’ve Got To Try” — The Chemical Brothers, Ellie Fry, video director; Ninian Doff, video producer “This Land” — Gary Clark Jr., Savanah Leaf, video director; Alicia Martinez, video producer “Cellophane” — FKA twigs, Andrew Thomas Huang, video director; Alex Chamberlain, video producer “Old Town Road (Official Movie)” — Lil Nas X & Billy Ray Cyrus, Calmatic, video director; Candice Dragonas, Melissa Larsen & Saul Levitz, video producers “Glad He’s Gone” — Tove Lo,  Vania Heymann & Gal Muggia, video directors; Natan Schottenfels, video producer Best Music Film: HOMECOMING — Beyoncé, Beyoncé Knowles-Carter & Ed Burke, video directors; Dora Melissa Vargas, video producer Remember My Name — David Crosby, A.J. Eaton, video director; Cameron Crowe, Michele Farinola & Greg Mariotti, video producers Birth Of The Cool — Miles Davis, Stanley Nelson, video director; Nicole London, video producer Shangri-la — Various Artists,Morgan Neville, video director; Emma Baiada, video producer Anima — Thom Yorke, Paul Thomas Anderson, video director; Paul Thomas Anderson, Erica Frauman & Sara Murphy, video producers

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Grammy Nomations 2020 (see complete list)

The 2020 Grammy Awards nomination list has been released and its a big win for Nigeria because Burna Boy's boy 'African Giant' album made the list.   Lizzo led the pack with eight nods, while Billie Eillish and Lil Nas X took the second spot with six nominations each for the 62nd Grammy Awards which will be held on January 26 at Staples Center in Los Angeles, California.   Burna Boy was nominated in the World Music album category alongside African music legend Angelique Kidjo.   See the complete list below;   Record Of The Year “Hey, Ma” — Bon Iver “Bad Guy” — Billie Eilish “7 Rings” — Ariana Grande “Hard Place” — H.E.R. “Talk” — Khalid “Old Town Road” — Lil Nas X Featuring Billy Ray Cyrus “Truth Hurts” — Lizzo “Sunflower” — Post Malone & Swae Lee Album Of The Year “I, I” — Bon Iver “Norman F—ing Rockwell!” — Lana Del Rey “When We All Fall Asleep, Where Do We Go?” — Billie Eilish “Thank U, Next” — Ariana Grande “I Used To Know Her” — H.E.R. “7” — Lil Nas X “Cuz I Love You” (Deluxe) — Lizzo “Father of the Bride” — Vampire Weekend Song Of The Year “Always Remember Us This Way” — Natalie Hemby, Lady Gaga, Hillary Lindsey & Lori McKenna, songwriters (Lady Gaga) “Bad Guy” — Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish) “Bring My Flowers Now” — Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, songwriters (Tanya Tucker) “Hard Place” — Ruby Amanfu, Sam Ashworth, D. Arcelious Harris. H.E.R. & Rodney Jerkins, songwriters (H.E.R.) “Lover” — Taylor Swift, songwriter (Taylor Swift) “Norman F—ing Rockwell” — Jack Antonoff & Lana Del Rey, songwriters (Lana Del Rey) “Someone You Loved” — Tom Barnes, Lewis Capaldi, Pere Kelleher, Benjamin Kohn & Sam Roman, songwriters (Lewis Capaldi) “Truth Hurts” — Steven Cheung, Eric Frederic, Melissa Jefferson & Jesse Saint John, songwriters (Lizzo) Best New Artist Black Pumas Billie Eilish Lil Nas X Lizzo Maggie Rogers Rosalía Tank and the Bangas Yola POP FIELD Best Pop Solo Performance: “Spirit” — Beyoncé “Bad Guy” — Billie Eilish “7 Rings” — Ariana Grande “Truth Hurts” — Lizzo “You Need To Calm Down” — Taylor Swift Best Pop Duo/Group Performance: “Boyfriend” — Ariana Grande & Social House “Sucker” — Jonas Brothers “Old Town Road” — Lil Nas X & Billy Ray Cyrus “Señorita” — Shawn Mendes & Camila Cabello Best Traditional Pop Vocal Album:   Sì — Andrea Bocelli Love (Deluxe Edition) — Michael Bublé Look Now — Elvis Costello & The Imposters A Legendary Christmas — John Legend Walls — Barbra Streisand Best Pop Vocal Album: The Lion King: The Gift — Beyoncé When We All Fall Asleep, Where Do We Go — Billie Eilish Thank U, Next — Ariana Grande No. 6 Collaborations Project — Ed Sheeran Lover — Taylor Swift DANCE/ELECTRONIC FIELD Best Dance Recording: “Linked” — Bonobo “Got To Keep On” — The Chemical Brothers “Piece Of Your Heart” — Meduza & Goodboys “Underwater” — Rüfüs Du Sol “Midnight Hour” — Skrillex & Boys Noize With Ty Dolla $ign Best Dance/Electronic Album: LP5 — Apparat No Geography — The Chemical Brothers Hi This Is Flume (Mixtape) — Flume Solace — Rüfüs Du Sol Weather — Tycho CONTEMPORARY INSTRUMENTAL MUSIC Best Contemporary Instrumental Album: Ancestral Recall — Christian Scott aTunde Adjuah Star People Nation — Theo Croker Beat Music! Beat Music! Beat Music! — Mark Guiliana Elevate — Lettuce Mettavolution — Rodrigo y Gabriela ROCK Best Rock Performance: “Pretty Waste” — Bones UK “This Land” — Gary Clark Jr. “History Repeats” — Brittany Howard “Woman” — Karen O & Danger Mouse “Too Bad” — Rival Sons Best Metal Performance: “Astorolus – The Great Octopus” — Candlemass ft. Tony Iommi “Humanicide” — Death Angel “Bow Down” — I Prevail “Unleashed” — Killswitch Engage “7empest” — Tool Best Rock Song: “Fear Inoculum” — Danny Carey, Justin Chancellor, Adam Jones & Maynard James Keenan, Songwriters (Tool) “Give Yourself A Try” — George Daniel, Adam Hann, Matthew Healy & Ross Macdonald, Songwriters (The 1975) “Harmony Hall” — Ezra Koenig, Songwriter (Vampire Weekend) “History Repeats” — Brittany Howard, Songwriter (Brittany Howard) “This Land” — Gary Clark Jr., Songwriter (Gary Clark Jr.) Best Rock Album:   Amo — Bring Me The Horizon Social Cues — Cage The Elephant In The End — The Cranberries Trauma — I Prevail Feral Roots — Rival Sons ALTERNATIVE Best Alternative Music Album: U.F.O.F. — Big Theif Assume Form — James Blake i,i — Bon Iver Father of the Bride — Vampire Weekend Anima — Thom Yorke R&B Best R&B Performance: “Love Again” — Daniel Caesar & Brandy “Could’ve Been” — H.E.R. & Bryson Tiller “Exactly How I Feel” — Lizzo & Gucci Mane “Roll Some Mo” — Lucky Daye “Come Home” — Anderson .Paak & André 300 Best Traditional R&B Performance: “Time Today” — BJ The Chicago Kid “Steady Love” — India.Arie “Jerome” — Lizzo “Real Games” — Lucky Daye “Built For Love” — PJ Morton & Jazmine Sullivan Best R&B Song: “Could’ve Been” — Dernst Emile Ii, David “Swagg R’celious” Harris, H.E.R. & Hue “Soundzfire” Strother, Songwriters (H.E.R. Ft. Bryson Tiller) “Look At Me Now” — Emily King & Jeremy Most, Songwriters (Emily King) “No Guidance” — Chris Brown, Tyler James Bryant, Nija Charles, Aubrey Graham, Anderson Hernandez, Michee Patrick Lebrun, Joshua Lewis, Noah Shebib & Teddy Walton, Songwriters (Chris Brown Ft. Drake) “Roll Some Mo” — David Brown, Dernst Emile Ii & Peter Lee Johnson, Songwriters (Lucky Daye) “Say So” — Pj Morton, Songwriter (Pj Morton Ft. Jojo) Best Urban Contemporary Album: Apollo XXI — Steve Lacy Cuz I Love You (Deluxe) — Lizzo Overload — Georgia Anne Muldrow Saturn — Nao Being Human In Public — Jessie Reyez Best R&B Album: 1123 — BJ The Chicago Kid Painted — Lucky Daye Ella Mai — Ella Mai Paul — PJ Morton Venture — Anderson .Paak RAP Best Rap Performance: “Middle Child” — J.Cole “Suge” — DaBaby “Down Bad” — Dreamville ft. J.I.D, Bas, J. Cole, Earthgang & Young Nudy “Racks In The Middle” — Nipsey Hussle ft. Roddy Ricch & Hit-boy “Clout” — Offset ft. Cardi B Best Rap/Sung Performance: “Higher” — DJ Khaled ft. Nipsey Hussle & John Legend “Drip Too Hard” — Lil Baby & Funna “Panini” — Lil Nas X “Ballin” — Mustard ft. Roddy Ricch “The London” — Young Thug ft. J. Cole & Travis Scott Best Rap Song: “Bad Idea” — Chancelor Bennett, Cordae Dunston, Uforo Ebong & Daniel Hackett, songwriters (Ybn Cordae ft. Chance The Rapper) “Gold Roses” — Noel Cadastre, Aubrey Graham, Anderson Hernandez, Khristopher Riddick-tynes, William Leonard Roberts Ii, Joshua Quinton Scruggs, Leon Thomas Iii & Ozan Yildirim, songwriters (Rick Ross ft. Drake) “A Lot” — Jermaine Cole, Dacoury Natche, 21 Savage & Anthony White, songwriters (21 Savage ft. J. Cole) “Racks In The Middle” — Ermias Asghedom, Dustin James Corbett, Greg Allen Davis, Chauncey Hollis, Jr. & Rodrick Moore, songwriters (Nipsey Hussle ft. Roddy Ricch & Hit-boy) “Suge” — Dababy, Jetsonmade & Pooh Beatz, songwriters (Dababy) Best Rap Album: Revenge Of The Dreamers III — Dreamville Championships — Meek Mill i am > i was — 21 Savage IGOR — Tyler, The Creator The Lost Boy — YBN Cordae COUNTRY Best Country Solo Performance: “All Your’n” — Tyler Childers “Girl Goin’ Nowhere” — Ashley McBryde “Ride Me Back Home” — Willie Nelson “God’s Country” — Blake Shelton “Bring My Flowers Now” — Tanya Tucker Best Country Duo/Group Performance: “Brand New Man” — Brooks & Dunn with Luke Combs “I Don’t Remember Me (Before You)” — Brothers Osborne “Speechless” — Dan & Shay “The Daughters” — Little Big Town “Common” — Maren Morris ft. Brandi Carlile Best Country Song: “Bring My Flowers Now” — Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, Songwriters (Tanya Tucker) “Girl Goin’ Nowhere” — Jeremy Bussey & Ashley Mcbryde, Songwriters (Ashley Mcbryde) “It All Comes Out In The Wash” — Miranda Lambert, Hillary Lindsey, Lori Mckenna & Liz Rose, Songwriters (Miranda Lambert) “Some Of It” — Eric Church, Clint Daniels, Jeff Hyde & Bobby Pinson, Songwriters (Eric Church) “Speechless” — Shay Mooney, Jordan Reynolds, Dan Smyers & Laura Veltz, Songwriters (Dan + Shay) Best Country Album: Desperate Man — Eric Church Stronger Than The Truth — Reba McEntire Interstate Gospel — Pistol Annies Center Point Road — Thomas Rhett While I’m Livin’ — Tanya Tucker NEW AGE Best New Age Album: Fairy Dreams — David Arkenstone Homage To Kindness — David Darling Wings — Peter Kater Verve — Sebastian Plano Deva — Deva Premal JAZZ Best Improvised Jazz Solo: “Elsewhere” — Melissa Aldana, soloist “Sozinho” — Randy Brecker, soloist “Tomorrow Is The Question” — Julian Lage, soloist “The Windup” — Brandford Marsalis, soloist “Sightseeing” — Christian McBride, soloist Best Jazz Vocal Album: Thirsty Ghost — Sara Gazarek Love & Liberation — Jazzmeia Horn Alone Together — Catherine Russell 12 Little Spells — Esperanza Spalding Screenplay — The Tierney Sutton Band Best Jazz Instrumental Album: In The Key Of The Universe — Joey DeFrancesco The Secret Between The Shadow And The Soul — Branford Marsalis Quartet Christian McBride’s New Jawn — Brad Mehldau Come What May – Joshua Redman Quartet Best Jazz Ensemble Album: Triple Helix — Anat Cohen Tentet Dancer In Nowhere — Miho Hazama Hiding Out — Mike Holober & The Gotham Jazz Orchestra The Omni-american Book Club — Brian Lynch Big Band One Day Wonder — Terraza Big Band Best Latin Jazz Album: Antidote — Chick Corea & The Spanish Heart Band Sorte!: Music By John Finbury — Thalma De Freitas With Vitor Gonçalves, John Patitucci, Chico Pinheiro, Rogerio Boccato & Duduka Da Fonseca Una Noche Con Rubén Blades — Jazz At Lincoln Center Orchestra With Wynton Marsalis & Rubén Blades Carib — David Sánchez Sonero: The Music Of Ismael Rivera — Miguel Zenón GOSPEL/CONTEMPORARY CHRISTIAN MUSIC Best Gospel Performance/Song: “Love Theory”– Kirk Franklin; Kirk Franklin, Songwriter “Talkin’ ‘Bout Jesus” — Gloria Gaynor ft. Yolanda Adams; Bryan Fowler, Gloria Gaynor & Chris Stevens, Songwriters “See The Light” — Travis Greene ft. Jekalyn Carr “Speak The Name” — Koryn Hawthorne ft. Natalie Grant “This Is A Move (Live)” — Tasha Cobbs Leonard; Tony Brown, Brandon Lake, Tasha Cobbs Leonard & Nate Moore, Songwriters Best Contemporary Christian Music Performance/Song: “Only Jesus” — Casting Crowns; Mark Hall, Bernie Herms & Matthew West, songwriters “God Only Knows” — for King & Country & Dolly Parton; Josh Kerr, Jordan Reynolds, Joel Smallbone, Luke Smallbone & Tedd Tjornhom, songwriters “Haven’t Seen It Yet” — Danny Gokey; Danny Gokey, Ethan Hulse & Colby Wedgeworth, songwriters “God’s Not Done With You (Single Version)” — Tauren Wells “Rescue Story” — Zach Williams; Ethan Hulse, Andrew Ripp, Jonathan Smith & Zach Williams, songwriters Best Gospel Album: Long Live Love — Kirk Franklin Goshen — Donald Lawrence Presents The Tri-City Singers Tunnel Vision — Gene Moore Settle Here — William Murphy Something’s Happening! A Christmas Album — CeCe Winans Best Contemporary Christian Music Album: I Know A Ghost — Crowder Burn The Ships — for King & Country Haven’t Seen It Yet — Danny Gokey The Elements — TobyMac Holy Roar — Chris Tomlin Best Roots Gospel Album: Deeper Roots: Where The Bluegrass Grows — Steven Curtis Chapman Testimony — Gloria Gaynor Deeper Oceans — Joseph Habedank His Name Is Jesus — Tim Menzies Gonna Sing, Gonna Shout (Various Artists) — Jerry Salley, producer LATIN Best Latin Pop Album: Vida — Luis Fonsi 11:11 — Maluma Montaner — Ricardo Montaner #ELDISCO — Alejandro Sanz Fantasía — Sebastian Yatra Best Latin Rock, Urban or Alternative Album: X 100PRE — Bad Bunny Oasis — J Balvin & Bad Bunny Indestructible — Flor De Toloache Almadura — iLe El Mal Querer – Rosalía Best Regional Mexican Music Album (Including Tejano): Caminando — Joss Favela Percepción — Intocable Poco A Poco — La Energia Norteña 20 Aniversario — Mariachi Divas De Cindy Shea De Ayer Para Siempre — Mariachi Los Camperos Best Tropical Latin Album: Opus — Marc Anthony Tiempo Al Tiempo — Luis Enrique + C4 Trio Candela — Vicente García Literal — Juan Luis Guerra 4.40 A Journey Through Cuban Music — Aymée Nuviola AMERICAN ROOTS MUSIC Best American Roots Performance: “Saint Honesty” — Sara Bareilles “Father Mountain” — Calexico With Iron & Wine “I’m On My Way” — Rhiannon Giddens With Francesco Turrisi “Call My Name” — I’m With Her “Faraway Look” — Yola Best American Roots Song: “Black Myself” — Amythyst Kiah, songwriter (Our Native Daughters) “Call My Name” — Sarah Jarosz, Aoife O’donovan & Sara Watkins, songwriters (I’m With Her) “Crossing To Jerusalem” — Rosanne Cash & John Leventhal, songwriters (Rosanne Cash) “Faraway Look” — Dan Auerbach, Yola Carter & Pat Mclaughlin, songwriters (Yola) “I Don’t Wanna Ride The Rails No More” — Vince Gill, songwriter (Vince Gill) Best Americana Album: Years To Burn — Calexico And Iron & Wine Who Are You Now — Madison Cunningham Oklahoma — Keb’ Mo’ Tales Of America — J.S. Ondara Walk Through Fire — Yola Best Bluegrass Album: Tall Fiddler — Michael Cleveland Live In Prague, Czech Republic — Doyle Lawson & Quicksilver Toil, Tears & Trouble — The Po’ Ramblin’ Boys Royal Traveller — Missy Raines If You Can’t Stand The Heat — Frank Solivan & Dirty Kitchen Best Traditional Blues Album: Kingfish — Christone “Kingfish” Ingram Tall, Dark & Handsome — Delbert McClinton & Self-made Men Sitting On Top Of The Blues — Bobby Rush Baby, Please Come Home — Jimmie Vaughan Spectacular Class — Jontavious Willis Best Contemporary Blues Album: This Land — Gary Clark Jr. Venom & Faith — Larkin Poe Brighter Days — Robert Randolph & The Family Band Somebody Save Me — Sugaray Rayford Keep On — Southern Avenue Best Folk Album: My Finest Work Yet — Andrew Bird Rearrange My Heart — Che Apalache Patty Griffin — Patty Griffin Evening Machines — Gregory Alan Isakov Front Porch — Joy Williams Best Regional Roots Music Album: Kalawai’anui — Amy H?naiali’i When It’s Cold – Cree Round Dance Songs — Northern Cree Good Time — Ranky Tanky Recorded Live At The 2019 New Orleans Jazz & Heritage Festival — Rebirth Brass Band Hawaiian Lullaby (Various Artists) — Imua Garza & Kimié Miner, Producers REGGAE Best Reggae Album: Rapture — Koffee As I Am — Julian Marley The Final Battle: Sly & Robbie Vs. Roots Radics — Sly & Robbie & Roots Radics Mass Manipulation — Steel Pulse More Work To Be Done — Third World WORLD MUSIC Best World Music Album: Gece — Altin Gün What Heat — Bokanté & Metropole Orkest Conducted By Jules Buckley African Giant — Burna Boy Fanm D’ayiti — Nathalie Joachim With Spektral Quartet Celia — Angelique Kidjo CHILDREN’S Best Children’s Music Album: Ageless Songs For The Child Archetype — Jon Samson Flying High! — Caspar Babypants I Love Rainy Days — Daniel Tashian The Love — Alphabet Rockers Winterland — The Okee Dokee Brothers SPOKEN WORD Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling): Beastie Boys Book (Various Artists) — Michael Diamond, Adam Horovitz, Scott Sherratt & Dan Zitt, producers Becoming — Michelle Obama I.V. Catatonia: 20 Years As A Two-Time Cancer Survivor — Eric Alexandrakis Mr. Know-It-All — John Waters Sekou Andrews & The String Theory — Sekou Andrews & The String Theory Comedy Best Comedy Album: Quality Time — Jim Gaffigan Relatable — Ellen Degeneres Right Now — Aziz Ansari Son Of Patricia — Trevor Noah Sticks & Stones — Dave Chappelle MUSICAL THEATER Best Musical Theater Album: Ain’t Too Proud: The Life And Times Of The Temptations — Saint Aubyn, Derrick Baskin, James Harkness, Jawan M. Jackson, Jeremy Pope & Ephraim Sykes, principal soloists; Scott M. Riesett, producer (Original Broadway Cast) Hadestown — Reeve Carney, André De Shields, Amber Gray, Eva Noblezada & Patrick Page, principal soloists; Mara Isaacs, David Lai, Anaïs Mitchell & Todd Sickafoose, producers (Anaïs Mitchell, composer & lyricist) (Original Broadway Cast) Moulin Rouge! The Musical — Danny Burstein, Tam Mutu, Sahr Ngaujah, Karen Olivo & Aaron Tveit, principal soloists; Justin Levine, Baz Luhrmann, Matt Stine & Alex Timbers, producers (Original Broadway Cast) The Music Of Harry Potter And The Cursed Child – In Four Contemporary Suites — Imogen Heap, producer; Imogen Heap, composer (Imogen Heap) Oklahoma! — Damon Daunno, Rebecca Naomi Jones, Ali Stroker, Mary Testa & Patrick Vaill, principal soloists; Daniel Kluger & Dean Sharenow, producers (Richard Rodgers, composer; Oscar Hammerstein II, lyricist) (2019 Broadway Cast) MUSIC FOR VISUAL MEDIA Best Compilation Soundtrack For Visual Media: The Lion King: The Songs — (Various Artists) Quentin Tarantino’s Once Upon A Time In Hollywood — (Various Artists) Rocketman — Taron Egerton Spider-man: Into The Spider-Verse — (Various Artists) A Star Is Born — Lady Gaga & Bradley Cooper Best Score Soundtrack For Visual Media: Avengers: Endgame — Alan Silvestri, composer Chernobyl — Hildur Guðnadóttir, composer Game Of Thrones: Season 8 — Ramin Djawadi, composer The Lion King — Hans Zimmer, composer Mary Poppins Returns — Marc Shaiman, composer Best Song Written For Visual Media: “The Ballad Of The Lonesome Cowboy” — Randy Newman, songwriter (Chris Stapleton); Track from: “Toy Story 4” “Girl In The Movies” — Dolly Parton & Linda Perry, songwriters (Dolly Parton); Track from: “Dumplin’” “I’ll Never Love Again (Film Version)” — Natalie Hemby, Lady Gaga, Hillary Lindsey & Aaron Raitiere, songwriters (Lady Gaga & Bradley Cooper); Track from: A Star Is Born “Spirit” — Beyoncé Knowles-Carter, Timothy McKenzie & Ilya Salmanzadeh, songwriters (Beyoncé); Track from: “The Lion King” “Suspirium” — Thom Yorke, songwriter (Thom Yorke); Track from: “Suspiria” COMPOSING/ARRANGING Best Instrumental Composition: “Begin Again” — Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza) “Crucible For Crisis” — Brian Lynch, composer (Brian Lynch Big Band) “Love, A Beautiful Force” — Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra) “Star Wars: Galaxy’s Edge Symphonic Suite” — John Williams, composer (John Williams) “Walkin’ Funny” — Christian McBride, composer (Christian McBride) Best Arrangement, Instrumental or A Cappella: “Blue Skies” — Kris Bowers, arranger (Kris Bowers) “Hedwig’s Theme” — John Williams, arranger (Anne-Sophie Mutter & John Williams) “La Novena” — Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra) “Love, A Beautiful Force” — Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra) “Moon River” — Jacob Collier, arranger (Jacob Collier) Best Arrangement, Instruments and Vocals: “All Night Long” — Jacob Collier, arranger (Jacob Collier Featuring Jules Buckley, Take 6 & Metropole Orkest) “Jolene” — Geoff Keezer, arranger (Sara Gazarek) “Marry Me A Little” — Cyrille Aimée & Diego Figueiredo, arrangers (Cyrille Aimée) “Over The Rainbow” — Vince Mendoza, arranger (Trisha Yearwood) “12 Little Spells (Thoracic Spine)” — Esperanza Spalding, arranger (Esperanza Spalding) PACKAGE Best Recording Package: Anónimas & Resilientes — Luisa María Arango, Carlos Dussan, Manuel García-Orozco & Juliana Jaramillo-Buenaventura, art directors (Voces Del Bullerengue) Chris Cornell — Barry Ament, Jeff Ament, Jeff Fura & Joe Spix, art directors (Chris Cornell) Hold That Tiger — Andrew Wong & Fongming Yang, art directors (The Muddy Basin Ramblers) i,i — Aaron Anderson & Eric Timothy Carlson, art directors (Bon Iver) Intellexual — Irwan Awalludin, art director (Intellexual) Best Boxed or Special Limited Edition Package: Anima — Stanley Donwood & Tchocky, art directors (Thom Yorke) Gold In Brass Age — Amanda Chiu, Mark Farrow & David Gray, art directors (David Gray) 1963: New Directions — Josh Cheuse, art director (John Coltrane) The Radio Recordings 1939–1945 — Marek Polewski, art director (Wilhelm Furtwängler & Berliner Philharmoniker) Woodstock: Back To The Garden – The Definitive 50th Anniversary Archive — Masaki Koike, art director (Various Artists) NOTES Best Album Notes: The Complete Cuban Jam Sessions — Judy Cantor-Navas, album notes writer (Various Artists) The Gospel According To Malaco — Robert Marovich, album notes writer (Various Artists) Pedal Steel + Four Corners — Brendan Greaves, album notes writer (Terry Allen And The Panhandle Mystery Band) Pete Seeger: The Smithsonian Folkways Collection — Jeff Place, album notes writer (Pete Seeger) Stax ’68: A Memphis Story — Steve Greenberg, album notes writer (Various Artists) HISTORICAL Best Historical Album: The Girl From Chickasaw County – The Complete Capitol Masters — Andrew Batt & Kris Maher, compilation producers; Simon Gibson, mastering engineer (Bobbie Gentry) The Great Comeback: Horowitz At Carnegie Hall — Robert Russ, compilation producer; Andreas K. Meyer & Jennifer Nulsen, mastering engineers (Vladimir Horowitz) Kankyo Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 — Spencer Doran, Yosuke Kitazawa, Douglas Macgowan & Matt Sullivan, compilation producers; John Baldwin, mastering engineer (Various Artists) Pete Seeger: The Smithsonian Folkways Collection — Jeff Place & Robert Santelli, compilation producers; Pete Reiniger, mastering engineer (Pete Seeger) Woodstock: Back To The Garden – The Definitive 50th Anniversary Archive — Brian Kehew, Steve Woolard & Andy Zax, compilation producers; Dave Schultz, mastering engineer, Brian Kehew, restoration engineer (Various Artists) PRODUCTION, NON-CLASSICAL Best Engineered Album, Non-Classical: All These Things — Tchad Blake, Adam Greenspan & Rodney Shearer, engineers; Bernie Grundman, mastering engineer (Thomas Dybdahl) Ella Mai — Chris “Shaggy” Ascher, Jaycen Joshua & David Pizzimenti, engineers; Chris Athens, mastering engineer (Ella Mai) Run Home Slow — Paul Butler & Sam Teskey, engineers; Joe Carra, mastering engineer (The Teskey Brothers) Scenery — Tom Elmhirst, Ben Kane & Jeremy Most, engineers; Bob Ludwig, mastering engineer (Emily King) When We All Fall Asleep, Where Do We Go? — Rob Kinelski & Finneas O’Connell, engineers; John Greenham, mastering engineer (Billie Eilish) Producer Of The Year, Non-Classical: Jack Antonoff Dan Auerbach John Hill Finneas Ricky Reed Best Remixed Recording: “I Rise (Tracy Young’s Pride Intro Radio Remix)” — Tracy Young, remixer (Madonna) “Mother’s Daughter (Wuki Remix)” — Wuki, remixer (Miley Cyrus) “The One (High Contrast Remix)”– Lincoln Barrett, remixer (Jorja Smith) “Swim (Ford. Remix)” — Luc Bradford, remixer (Mild Minds) “Work It (Soulwax Remix)” — David Gerard C Dewaele & Stephen Antoine C Dewaele, remixers (Marie Davidson) PRODUCTION, IMMERSIVE AUDIO Best Immersive Audio Album: Chain Tripping — Luke Argilla, immersive audio engineer; Jurgen Scharpf, immersive audio mastering engineer; Jona Bechtolt, Claire L. Evans & Rob Kieswetter, immersive audio producers (Yacht) Kverndokk: Symphonic Dances — Jim Anderson, immersive audio engineer; Robert C. Ludwig, immersive audio mastering engineer; Ulrike Schwarz, immersive audio producer (Ken-David Masur & Stavanger Symphony Orchestra) Lux — Morten Lindberg, immersive audio engineer; Morten Lindberg, immersive audio mastering engineer; Morten Lindberg, immersive audio producer (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor) The Orchestral Organ — Keith O. Johnson, immersive audio engineer; Keith O. Johnson, immersive audio mastering engineer; Marina A. Ledin & Victor Ledin, immersive audio producers (Jan Kraybill) The Savior — Bob Clearmountain, immersive audio engineer; Bob Ludwig, immersive audio mastering engineer; Michael Marquart & Dave Way, immersive audio producers (A Bad Think) PRODUCTION, CLASSICAL Best Engineered Album, Classical: Aequa – Anna Thorvaldsdóttir — Daniel Shores, engineer; Daniel Shores, mastering engineer (International Contemporary Ensemble) Bruckner: Symphony No. 9 — Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra) Rachmaninoff – Hermitage Piano Trio — Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Hermitage Piano Trio) Riley: Sun Rings — Leslie Ann Jones, engineer; Robert C. Ludwig, mastering engineer (Kronos Quartet) Wolfe: Fire In My Mouth — Bob Hanlon & Lawrence Rock, engineers; Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic) Producer Of The Year, Classical: Blanton Alspaugh James Ginsburg Marina A. Ledin, Victor Ledin Morten Lindberg Dirk Sobotka CLASSICAL Best Orchestral Performance: “Bruckner: Symphony No. 9” — Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) “Copland: Billy The Kid; Grohg” — Leonard Slatkin, conductor (Detroit Symphony Orchestra) “Norman: Sustain” — Gustavo Dudamel, conductor (Los Angeles Philharmonic) “Transatlantic” — Louis Langrée, conductor (Cincinnati Symphony Orchestra) “Weinberg: Symphonies Nos. 2 & 21” — Mirga Gra?inyt?-tyla, conductor (City Of Birmingham Symphony Orchestra & Kremerata Baltica) Best Opera Recording: “Benjamin: Lessons In Love & Violence” — George Benjamin, conductor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; James Whitbourn, producer (Orchestra Of The Royal Opera House) “Berg: Wozzeck” — Marc Albrecht, conductor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, producer (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera) “Charpentier: Les Arts Florissants; Les Plaisirs De Versailles” — Paul O’Dette & Stephen Stubbs, conductors; Jesse Blumberg, Teresa Wakim & Virginia Warnken; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble) “Picker: Fantastic Mr. Fox” — Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus) “Wagner: Lohengrin” — Christian Thielemann, conductor; Piotr Becza?a, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, producer (Festspielorchester Bayreuth; Festspielchor Bayreuth) Best Choral Performance: “Boyle: Voyages” — Donald Nally, conductor (The Crossing) “Duruflé: Complete Choral Works” — Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir) “The Hope Of Loving” — Craig Hella Johnson, conductor (Conspirare) “Sander: The Divine Liturgy Of St. John Chrysostom” — Peter Jermihov, conductor (Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers) “Smith, K.: The Arc In The Sky” — Donald Nally, conductor (The Crossing) Best Chamber Music/Small Ensemble Performance: “Cerrone: The Pieces That Fall To Earth” — Christopher Rountree & Wild Up “Freedom & Faith” — Publiquartet “Perpetulum” — Third Coast Percussion “Rachmaninoff” – Hermitage Piano Trio — Hermitage Piano Trio “Shaw: Orange” — Attacca Quartet Best Classical Instrumental Solo: “The Berlin Recital” — Yuja Wang “Higdon: Harp Concerto” — Yolanda Kondonassis; Ward Stare, conductor (The Rochester Philharmonic Orchestra) “Marsalis: Violin Concerto; Fiddle Dance Suite” — Nicola Benedetti; Cristian M?celaru, conductor (Philadelphia Orchestra) “The Orchestral Organ” — Jan Kraybill “Torke: Sky, Concerto For Violin” — Tessa Lark; David Alan Miller, conductor (Albany Symphony) Best Classical Solo Vocal Album: The Edge Of Silence – Works For Voice By György Kurtág — Susan Narucki (Donald Berman, Curtis Macomber, Kathryn Schulmeister & Nicholas Tolle) Himmelsmusik — Philippe Jaroussky & Céline Scheen; Christina Pluhar, conductor; L’arpeggiata, ensemble (Jesús Rodil & Dingle Yandell) Schumann: Liederkreis Op. 24, Kerner-lieder Op. 35 — Matthias Goerne; Leif Ove Andsnes, accompanist Songplay — Joyce Didonato; Chuck Israels, Jimmy Madison, Charlie Porter & Craig Terry, accompanists (Steve Barnett & Lautaro Greco) A Te, O Cara — Stephen Costello; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra) Best Classical Compendium: American Originals 1918 — John Morris Russell, conductor; Elaine Martone, producer Leshnoff: Symphony No. 4 ‘heichalos’; Guitar Concerto; Starburst — Giancarlo Guerrero, conductor; Tim Handley, producer Meltzer: Songs And Structures — Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, producers The Poetry Of Places — Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers Saariaho: True Fire; Trans; Ciel D’hiver — Hannu Lintu, conductor; Laura Heikinheimo, producer Best Contemporary Classical Composition: Bermel: Migration Series For Jazz Ensemble & Orchestra — Derek Bermel, composer (Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra) Higdon: Harp Concerto — Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra) Marsalis: Violin Concerto In D Major — Wynton Marsalis, composer (Nicola Benedetti, Cristian M?celaru & Philadelphia Orchestra) Norman: Sustain — Andrew Norman, composer (Gustavo Dudamel & Los Angeles Philharmonic) Shaw: Orange — Caroline Shaw, composer (Attacca Quartet) Wolfe: Fire In My Mouth — Julia Wolfe, composer (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic) MUSIC VIDEO/FILM Best Music Video: “We’ve Got To Try” — The Chemical Brothers, Ellie Fry, video director; Ninian Doff, video producer “This Land” — Gary Clark Jr., Savanah Leaf, video director; Alicia Martinez, video producer “Cellophane” — FKA twigs, Andrew Thomas Huang, video director; Alex Chamberlain, video producer “Old Town Road (Official Movie)” — Lil Nas X & Billy Ray Cyrus, Calmatic, video director; Candice Dragonas, Melissa Larsen & Saul Levitz, video producers “Glad He’s Gone” — Tove Lo,  Vania Heymann & Gal Muggia, video directors; Natan Schottenfels, video producer Best Music Film: HOMECOMING — Beyoncé, Beyoncé Knowles-Carter & Ed Burke, video directors; Dora Melissa Vargas, video producer Remember My Name — David Crosby, A.J. Eaton, video director; Cameron Crowe, Michele Farinola & Greg Mariotti, video producers Birth Of The Cool — Miles Davis, Stanley Nelson, video director; Nicole London, video producer Shangri-la — Various Artists,Morgan Neville, video director; Emma Baiada, video producer Anima — Thom Yorke, Paul Thomas Anderson, video director; Paul Thomas Anderson, Erica Frauman & Sara Murphy, video producer Read the full article