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eddycurrents · 5 years

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For the week of 29 April 2019

Quick Bits:

Angel #0 spins out of Buffy the Vampire Slayer #4 (the ending events of which are presented again at the beginning here), giving us a flashback of Angel in Los Angeles and a case involving a werewolf. The tone here from Bryan Edward Hill, Gleb Melnikov, Gabriel Cassata, and Ed Dukeshire is bleaker than the Buffy series, but it’s fitting.

| Published by BOOM! Studios

Barbarella/Dejah Thoris #3 is a whole lot of flirting. Gorgeous artwork from Germán García and Addison Duke with some impressive lettering from Crank!

| Published by Dynamite

Batman #70 wakes up from its “Knightmares” for the first part of “The Fall and the Fallen” by Tom King, Mikel Janín, Jorge Fornés, Jordie Bellaire, and Clayton Cowles. It throws down a gauntlet of Bats’ rogues as he fights to escape Arkham Asylum.

| Published by DC Comics

Batman/Teenage Mutant Ninja Turtles III #1 is the first of these series that I’ve picked up, so I didn’t initially clue in that this wasn’t necessarily how this crossover had played out previously, but this first issue features a world of the two properties mashed-up in a combined reality. It’s an interesting start from James Tynion IV, Freddie E. Williams II, Kevin Eastman, Jeremy Colwell, and Tom Napolitano with some gorgeous artwork.

| Published by DC Comics & IDW

Black Hammer ‘45 #3 features a guest-spot for a young Abraham Slam, who seems to rub the Black Hammer Squadron the wrong way through trying to follow through with ideals and principles. It’s an interesting underlining of whatever potentially grey area operation the squad is on, as Jeff Lemire, Ray Fawkes, Matt Kindt, Sharlene Kindt, and Marie Enger continue to let that plot point simmer.

| Published by Dark Horse

Champions #5 is a tie-in to War of the Realms and also serves as a bit of glue to hold together different parts of the event, building upon things across different areas of the Marvel universe. It also gives us a very heartfelt reunion of Ms. Marvel and Cyclops, wonderfully told by Jim Zub, Juanan Ramírez, Marcio Menyz, and Clayton Cowles.

| Published by Marvel

DC’s Year of the Villain Special #1 gives a trio of teasers, two largely for the two sides of the Justice League/Legion of Doom stuff that has been going on, providing a backbone for the Year of the Villain event, and the third for Brian Michael Bendis’ brainchild of Event Leviathan, which unfortunately feels kind of out of place with the rest of it. As though the two separate stories are competing for resources, rather than being part of a cohesive whole. That said, all of the teasers do their job fairly well, piquing interest in what’s to come.

| Published by DC Comics

DCeased #1 is basically DC’s answer to Marvel Zombies by way of Stephen King’s Cell, but it’s damn entertaining work from Tom Taylor, Trevor Hairsine, James Harren, Stefano Gaudiano, Rain Beredo, and Saida Temofonte. The set-up for the series with Darkseid meddling with the Anti-Life Equation and winding up with something worse is perfect.

| Published by DC Comics

Deathstroke #43 is kind of the conclusion to “The Terminus Agenda”, on paper at least. There’s still an epilogue over in the next issue of Teen Titans and the final page of this one sets up something huge going forward.

| Published by DC Comics

Descendent #1 begins another new conspiracy thriller, building off a child abduction and a “truther”, from Stephanie Phillips, Evgeniy Bornyakov, Lauren Affe, and Troy Peteri. It’s a bit of a slow build, working to develop the characters nicely, but there’s an intriguing mystery here.

| Published by AfterShock

Doctor Who: The Thirteenth Doctor #7 continues the hunt for the Stilean Flesh Eaters as the Doctor and the team cross paths with some familiar faces. Gorgeous layouts and art here from Roberta Ingranata, Enrica Eren Angiolini, and Viviana Spinelli.

| Published by Titan

Eclipse #15 reaches a boiling point in this penultimate issue. Zack Kaplan, Giovanni Timpano, Flavio Dispenza, and Troy Peteri have at least partially turned this arc upside down, causing us to have some serious questions about the morality of either side in the conflict. It adds a great depth to the characters’ actions and makes me unsure as to what exactly I’d like to see in the finale.

| Published by Image / Top Cow

Elephantmen 2261: The Pentalion Job #1 begins a new digital original mini-series from Richard Starkings and Axel Medellin. Burba sees himself released from prison early, only to be set up to do a new enormous heist. Starkings builds this one greatly out of what’s come before in the series and the art from Medellin is gorgeous.

| Published by Comicraft

Fallen World #1 is a very welcome return to the future of the Valiant universe, spinning out of the changes made to the world in 4001 AD and War Mother, with Dan Abnett, Adam Pollina, Ulises Arreola, and Jeff Powell weaving gold out of the fallen threads of the fallen New Japan. You needn’t have read anything prior to this, Abnett does a wonderful job filling in necessary details of the world and the characters. The art from Pollina is probably the best I have ever seen from him, there’s detail, grace, and expressiveness that has leapt so far beyond even the beautiful work he’s done before. He and Arreola make this a damn impressive book to look at. Highly recommended.

| Published by Valiant

Giant Days #50 features a cricket match, including an explanation of the game that makes more sense than I’ve ever seen it explained before. John Allison, Max Sarin, Whitney Cogar, and Jim Campbell deliver another hilarious issue, with one hell of a final page.

| Published by Boom Entertainment / BOOM! Box

The Girl in the Bay #4 is the end to this mini from JM DeMatteis, Corin Howell, James Devlin, and Clem Robins. It answers what happened in order to create two Kathy Santoris, and her murderer’s deal, but it maintains the weirdness set from the beginning.

| Published by Dark Horse / Berger Books

Gogor #1 is an entertaining start to this fantasy series from Ken Garing. The set up for the Domus taking over is interesting, as is the introduction of the seemingly Hulk-like saviour in the titular character. Gorgeous artwork throughout.

| Published by Image

Green Lantern #7 is a standout issue in an already astounding run, as Hal Jordan and a friend he finds in Pengowirr try to escape from Hal’s dying power ring. Great twists and turns throughout from Grant Morrison, Liam Sharp, and Tom Orzechowski. The layouts for many of the pages, playing with the shape of the Green Lantern symbol are very impressive.

| Published by DC Comics

Harley Quinn #61 is the first of this series I’ve picked up, due to Otto Schmidt taking over regular art duties, and I quite like this. This is the first part of “Role Players” from Sam Humphries, Schmidt, and Dave Sharpe, porting Quinn off to an alternate realm steeped in Dungeons & Dragons fantasy tropes. It’s pretty entertaining, with great art from Schmidt.

| Published by DC Comics

Hashtag: Danger #1 is another entertaining addition to the second wave of Ahoy’s comics, with Tom Peyer and Chris Giarrusso’s humorous take on the Challengers of the Unknown formula graduated from back-up to series. It’s rounded out with the usual back-up strip, text piece, and prose.

| Published by Ahoy

Justice League #23 has one hell of a gut punch for an ending (granted, it’s a little undercut by the DC’s Year of the Villain Special, but how could we expect something like that to remain anyway?). Absolutely stunning artwork from Jorge Jimenez and Alejandro Sánchez who only seem to outdo themselves with each subsequent issue.

| Published by DC Comics

Marvel Team-Up #2 continues the team-up between Ms. Marvel and Spider-Man in this Freaky Friday take from Eve L. Ewing, Joey Vasquez, Felipe Sobreiro, and Clayton Cowles. Interesting exploration of Peter and Kamala as they navigate aspects of each other’s lives.

| Published by Marvel

Meet the Skrulls #4 unveils what was a the heart of Project Blossom as fractures continue to develop between the Warner family. Great twists and turns from Robbie Thompson, Niko Henrichon, Laurent Grossat, and Travis Lanham as the series winds up for its conclusion.

| Published by Marvel

Nobody is in Control #1 features some very dense storytelling from Patrick Kindlon, Paul Tucker, and Wallace Ryan in this debut issue that goes down a rabbit hole of conspiracy theories and seemingly random information. It reminds me a bit of the structure of Steve Seagle and Kelley Jones’ Crusades from Vertigo ages ago, but with a more likeable protagonist and a decidedly different narrative.

| Published by Black Mask

The Punisher #11 is the explosive conclusion to “War in Bagalia” from Matthew Rosenberg, Szymon Kudranski, Antonio Fabela, and Cory Petit. When I say “conclusion”, though, I only mean it’s the end of the arc, it doesn’t really conclude anything with Jigsaw or Zemo. Great art from Kudranski and Fabela.

| Published by Marvel

Red Sonja #4 delves a bit more into Sonja’s past and training, seeding something interesting, while the first assault after being resupplied takes place. Mark Russell, Mirko Colak, Bob Q, Dearbhla Kelly, and Hassan Otsmane-Elhaou are continuing to tell an engrossing, thought-provoking story with this series.

| Published by Dynamite

Savage Avengers #1 is a good debut from Gerry Duggan, Mike Deodato Jr., Frank Martin, and Travis Lanham. It spins out of Avengers: No Road Home, but only inasmuch as depositing Conan in the Savage Land. We’re getting a bit of a gathering of the team here as an ancient cult tries to summon a bloodthirsty deity from a planet past Pluto.

| Published by Marvel

The Six Million Dollar Man #3 is another hilarious issue from Christopher Hastings, David Hahn, Roshan Kurichiyanil, and Ariana Maher. The comedy of errors increases as Steve tries to recharge himself through acting as a lightning rod. Just wonderful stuff.

| Published by Dynamite

Spider-Gwen: Ghost Spider #8 sees Seanan McGuire continue to absolutely nail the character development and interpersonal interactions between the characters in a compelling and intriguing way that hooks you well on their drama, even amidst all of the action, mystery, and excitement. Also, the art from Takeshi Miyazawa and Ian Herring remains incredible.

| Published by Marvel

Star Wars: Age of Rebellion - Han Solo #1 gives us a sweet smuggling run set between A New Hope and Empire Strikes Back as Han and Chewie are still carving out what their place happens to be in this world, from Greg Pak, Chris Sprouse, Karl Story, Tamra Bonvillain, and Travis Lanham.

| Published by Marvel

Transformers #4 maintains the slowburn for this story arc, delivering a bit more information, a Cyclonus that might be insane, and Brainstorm’s funeral. Also, I’d swear that the story is hinting that the newly forged Transformer is the murderer, but that may just be me putting together dots that don’t actually align. It’s really nice to see art here from Sara Pitre-Durocher and Andrew Griffith as they join Angel Hernandez this issue.

| Published by IDW

Volition #5 throws a boatload of betrayals and twists at us as Amber and Hale continue to try to track down their creator...and her dog. Ryan Parrott, Marco Itri, Leonardo Paciarotti, and Marshall Dillon are very nicely raising the tension levels in this issue.

| Published by AfterShock

The War of the Realms #3 sees Jason Aaron, Russell Dauterman, Matthew Wilson, and Joe Sabino continue to juggle the massive amount of characters and threads going into this event (even if some of the tie-in mini-series don’t seem to line up with the main event book itself). Gorgeous art from Dauterman and Wilson.

| Published by Marvel

The War of the Realms: Strikeforce - The Dark Elf Realm #1 is a one shot from Bryan Hill, Leinil Francis Yu, Gerry Alanguilan, Matt Hollingsworth, and Joe Sabino further exploring the team of Freyja, the Punisher, She-Hulk, Blade, and Ghost Rider before they ride off to Svartalfheim in War of the Realms #3. Some interesting character explorations and the nightmare of thousands of fluffy kittens.

| Published by Marvel

Young Justice #5 is huge, potentially exponentially huge, as it seems to pull at the fraying threads of the New 52 and Rebirth to hearken back to the pre-Flashpoint DCU. Brian Michael Bendis, John Timms, Kris Anka, Doc Shaner, Gabe Eltaeb, and Wes Abbott may be playing with fire but it’s a very welcome warmth. Bring marshmallows.

| Published by DC Comics / Wonder Comics

Other Highlights: Amazing Spider-Man #20.HU, Battlestar Galactica: Twilight Command #2, Beasts of Burden: The Presence of Others #1, Black AF: Devil’s Dye #3, Devil Within #4, The Dreaming #9, Elvira: Mistress of the Dark #5, Female Furies #4, From Hell: Master Edition #5, Goosebumps: Horrors of the Witch House #1, Grumble #6, Hillbilly: Red-Eyed Witchery From Beyond #4, Jim Henson’s Beneath the Dark Crystal #9, Marvel Action: Avengers #4, Marvel Action: Spider-Man #3, Outcast #41, Paper Girls #28, Self/Made #6, Star Wars #65, Star Wars Adventures: Flight of the Falcon, TMNT: Urban Legends #12, Under the Moon: A Catwoman Tale

Recommended Collections: Aliens: Dust to Dust, Amazing Spider-Man - Volume 3, Art of War of the Realms, Bloodborne - Volume 2: Healing Thirst, Bone Parish - Volume 1, Doctor Strange - Volume 2: Remittance, GI Joe: A Real American Hero - Silent Option, House Amok - Volume 1, Killmonger, Man Without Fear, Midas, Mighty Morphin Power Rangers - Volume 8, Olivia Twist: Honor Among Thieves, Princeless - Volume 7: Find Yourself, The Quantum Age, The Silencer - Volume 2: Helliday Road, Star Trek: The Next Generation - Terra Incognita, Stranger Things - Volume 1: The Other Side, Takio, TMNT - Volume 21: Battle Lines, Wonder Woman & Justice League Dark: Witching Hour, The Wrong Earth - Volume 1

d. emerson eddy would like to remind you that it’s Free Comic Book Day. Get out there and free some comics from the shackles of oppression. May the fourth be with you.

#This Week in Comics

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davidshankle-blog · 2 years

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NEXT WEDNESDAY 6/29/22 at 5pm PST! Join us for the 5th ANNUAL DAVID Z FOUNDATION ONLINE FUNDRAISER raising money for children’s music education! Watch it LIVE here👉🏼 David Z Foundation Facebook page and stay tuned for how you can donate! With very special guest appearances: •Steel Panther •Symphony X •Winger •BULLETBOYS •Spin Doctors •Buckcherry •RUBIX KUBE: •FireHouse •Eddie Trunk •Dee Snider (TWISTED SISTER) •Eddie Ojeda (TWISTED SISTER) •Carmine Appice (VANILLA FUDGE, ROD STEWART, OZZY OSBOURNE) •DON Dokken (DOKKEN) •Steven Adler (GUNS N ROSES) •Rikki Rockett (POISON) •MARQ TORIEN (BULLETBOYS) •Nuno Bettencourt (EXTREME) •Bumblefoot (SONS OF APOLLO) •Jeff Scott Soto (T.S.O.) •Phil Demmel (VIO-LENCE, LAMB OF GOD, MACHINE HEAD, SLAYER) •Alex Skolnick (TESTAMENT) •Charlie Benante (ANTHRAX) •Chris Caffery (T.S.O, SAVATAGE) •Chuck Wright (ALICE COOPER, HOUSE OF LORDS) •IRA BLACK (BULLETBOYS, LIZZY BORDEN, METAL CHURCH) •Brad Lang (BULLETBOYS, Y&T) •Fred Aching (BULLETBOYS, POWERFLO) •Sean McNabb (DOKKEN, KEEF RICHARDS BAND) •Al Pitrelli (MEGADETH, SAVATAGE, T.S.O) •Alonzo (AMERICA’S GOT TALENT) •Brett Scallions (FUEL) •Abby Gennet (RIOT BRIDES, SLUNT) •Corey Glover (LIVING COLOUR) •David Shankle (MANOWAR, DSG,FEANOR, GraveReign, WINGS OF DESTINY) •Joey Cassata (ZO2, Z ROCK, ERIC MARTIN) •Mitch Perry (MSG, LITA FORD, MITCH PERRY GROUP) •Rob Affuso (SKID ROW) •Pete Thorn (CHRIS CORNELL) •Robert Mason (WARRANT) •Stuart Hamm (STEVE VAI, JOE SATRIANI) •TIFFANY •Gabriel Connor (RED DEVIL VORTEX) ********* The David Z Foundation is a 501 (c)3 non-profit organization started by singer/guitarist Paul Zablidowsky in memory of his brother and bandmate bassist David Zablidowsky. Inclusive of all and serving a diverse population of underprivileged kids our aim is to instill a passion for music in kids while providing them with engaging music education opportunities and funding putting together collaborations between kids and veteran music industry professionals and developing programs within academic school settings as well as music schools both across the country and internationally. We bring students into the world of music by providing deeper knowledge and https://www.instagram.com/p/CfEou44ucbK/?igshid=NGJjMDIxMWI=

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i-am-the-entertainer · 7 years

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What Killed The Comet?: For The Extremes of The Two Sides of The Great Comet Debacle

I can’t believe this is still a thing a month after the Comet closed on Broadway. Recent comments by Okieriete Onaodowan regarding The Great Comet have led to two things flairing up: diehard Comet fans and even some of the cast calling BS on Oak’s claims of TGC not “investing” in diversity, and diehard Oak/Hamilton fans claiming the Comet fandom “must officially apologize” to Oak.

As both an activist for diversity in theater (not to mention a person of color) and a fan of The Great Comet, I think it’s time to restate some stuff to remember about what caused the Comet to close.

tl;dr I cannot in any capacity summarize this in a “tl;dr,” this is a very long post, hence I’ve put the rest under a read more. The only thing I can say is there’s nuance. I just ask that you read this whole thing, and no matter what your opinion is, keep an open mind.

But a disclaimer: I am not an industry insider, nor do I consider myself a supporter of either extremes of this. My intention here is not to support either of you: you, the people who blame Oak for everything, and you, the people who think Oak takes no blame and people need to apologize to him. I’m only restating information. In the real world I am equal parts a POC, a diversity in theater activist, and a political activist. My analyses are essentially my best guesses, I am by no means an expert on financials.

A lot of this information is culled from the NY Times coverage on the show’s closing, as well as the three NY Post articles by Michael Riedel––I’m inclined to trust the Times coverage more, but seeing as the Times article confirms a lot of what the Post first reported, we’re gonna assume at least some of Riedel’s sources are accurate. Other statements, like cast members and others, are cited in-text.

The Background

Natasha, Pierre, & the Great Comet of 1812, based on a short excerpt from Tolstoy’s War and Peace, first opened in 2012 to critical acclaim at Ars Nova. Its popularity led to it transferring to Times Square in a specially-built venue called “Kazino,” where it enjoyed a run before transferring to the Meatpacking District and finally closing in 2014. Among its original cast was Phillipa Soo as Natasha, who of course later went on to star as Eliza Schuyler in Hamilton. The show, staged in an immersive setting by Rachel Chavkin, incorporated a highly diverse cast of multiple ethnicities and sexualities: as of the Original Broadway Cast, besides lead actress Denee Benton being black, there were “seven additional cast members of African descent, three Asian Americans and five Latinos.”

In 2015, talks began for a Broadway run of The Great Comet, starring pop-singer Josh Groban as Pierre. In preparation for this run, Comet was staged at A.R.T. in Boston where its immersive elements were successfully transferred to a proscenium setting. Groban’s presence was announced, as well as the casting of black actress Denee Benton in the lead role of Natasha.

The Great Comet opened on Broadway in the fall of 2016, earning significant praise, especially for Denee Benton and Josh Groban, as well as sporting a hugely diverse cast. With Hamilton of course having swept the Tonys the previous season, TGC was easily one of the contenders for Best Musical, especially with its diverse cast.

Part of what sold The Great Comet in its pre-Broadway runs was its highly immersive staging where actors were literally on top of audience members and its diverse casting, on top of a hugely creative score by writer Dave Malloy. But it played in a very small theater when it was Off-Broadway. To guarantee tickets, the producers felt they needed a bankable star. So they chose Groban.

However, the casting of Groban had an unintended effect: The Great Comet, which had already amassed a cult following for being “that cool immersive musical,” suddenly became “that Josh Groban musical.” The reason it was selling out every week and attracting an audience was because people wanted a chance to see Josh Groban in a show. And Josh Groban, bless his heart, is a busy guy. The show needed a bankable star to take over once he was done.

In early 2017, the producers announced the casting of Tony-nominated actor Okieriete Onaodowan, the original Hercules Mulligan/James Madison from Hamilton, as Groban’s replacement for Pierre. A few months later, it also emerged that singer Ingrid Michaelson would be temporarily taking on the role of Sonya, apparently while original actor Brittain Ashford was on vacation. (remember this part for later.)

When Oak arrived for rehearsals shortly before his Broadway debut, it emerged that he was not ready for performances yet despite having been given several months’ notice: he had not learned all of his piano and accordion parts for the role, which under Groban and Malloy had largely been Pierre’s involvement in the show besides his singing parts. Without a workable star, Oak’s debut was pushed back a week from the July 3 date so he could have adequate time to learn the parts. Eventually, with no time left, the instrumental parts were largely divided up among the cast members, with this new arrangement being used for the rest of the run.

When the delay was announced, Oak tweeted the following message: “UPDATE: July 11th will be Oaks first show! DATE CHANGE! They need another week 2get ready for Oak!” Dave Malloy goes on record in the Times article (link above) that he found it bizarre that Oak was claiming the show needed to be ready for him considering he had been the one who wasn’t ready.

Point: I personally have heard from my own credible sources that Oak was, in fact, ready for the role and there was no reason for the producers to delay his debut, nor to divide the parts.. While I trust this source, I can’t help but notice that when I saw Josh Groban and Dave Malloy as Pierre they played their instruments for the entire show, whereas when I saw Oak and later Dave at the final performance most of Pierre’s instrument-playing had been divided among the ensemble. If Oak had in fact been ready, what accounts for Pierre’s role suddenly becoming him just sitting there instead of serving as part of the orchestra? Was this narrative incorrect? Or maybe the producers didn’t have faith in him?

Besides Oak not having been ready for the role, the NY Post reports that he had been actively clashing with Chavkin about his personal choices for the role: he wanted to do his own interpretation while Chavkin wanted him to stick to the previous direction she’d given the previous Pierres. Again, this is NY Post which is basically tabloids, however one of the drummers on the Great Comet, Joey Cassata, retweeted the original article for this claiming it was the truth. Cassata as a member of the orchestra would have been privy to a lot of what decisions were being made with the instrumentals.

Point: Cassata, along with much of the fandom and even the cast, was and is very protective of The Great Comet, and it’s well-known the cast wasn’t too pleased by the backlash that would later follow. It’s equally reasonable to suggest Cassata, in a bout of anger at the show’s likely demise, retweeted the article to reiterate its claims and find a scapegoat. However, as the article’s central claims, mainly Oak being unprepared and clashing with Chavkin, were confirmed in the Times article, we’re just gonna have to decide how much faith we put in the Times in checking reliable sources. There is also the possibly that the cast read the Post, decided it fit their ideas of the narrative, and subsequently confirmed its story to the Times reporter. That’s up to you.

In the meantime, it became apparent that Oak was not selling the desired amount of tickets. See, the thing is, The Great Comet was an expensive show. In order to make the renovations to the Imperial Theatre to properly stage it, the building had to literally be rented. In order for the show to turn a profit while still being able to use the theater, it had to make over $900,000 a week. This was hardly a problem with Groban, as he was selling the show for over a million a week. But once he left, ticket sales began to drop: Oak, despite his own popularity, wasn’t the draw that could sell tickets for this expensive show which was still quite popular among audiences. And the show needed a certain number of pre-sale tickets to make sure they could keep the theater, otherwise the Shubert Organization would give it to another show. This, coupled with the summer season generally being a difficult one for Broadway, meant the show was losing money fast.

Only a few weeks into Oak’s run, the producer’s began training Mandy Patinkin, of Sunday In The Park With George, Evita, Criminal Minds, The Princess Bride, and Homeland fame. (Note: this is directly aimed at the Hamilton fans who had never heard of Mandy Patinkin). Discussions with Oak led to the decision that he would step down from the role temporarily and the last three weeks of his original run would be taken over by Mandy, who could only do it then because of Homeland. And then he was free to come back after Patinkin was finished (while the producers looked for another potential star to play Pierre once Oak was done, with the benefit of summer ending meaning it wouldn’t mean too much of a money problem).

Why would it work this time, you ask? Because they’d done it before. Brittain Ashford’s temporary departure from Sonya was specifically to draw in an audience for the summer with Ingrid Michaelson. But again, Michaelson is a busy woman: once she left, they wouldn’t have a non-Broadway name to draw an audience. More on that later.

Here’s where recasting Oak so abruptly ran into trouble: Oak, an actor of color, was being set aside temporarily for Mandy, a white actor.

Rather, a Jewish actor: I’m not gonna make any claim to whether being Jewish is a race or not. But the point is, it was perceived as an actor of color being pushed aside for at the very least a white-passing actor.

Needless to say, the POC community wasn’t too happy. Broadway Black posted an article pointed out what this could mean, with Cynthia Erivo and Rafael Casal tweeting about what a poor decision this was and frankly unfair to Oak. What developed from their tweets first came #MakeRoomForOak, which they supported, as well as one which to their credit they quickly distanced themselves from: the sudden call for #BoycottTheComet, saying because it had forgone diversity it deserved to close. I should reiterate that all three parties quickly pointed out this was not what they were calling for.

Oak, as it turns out, didn’t actually think the decision had been about his race, but he also did not really believe the controversy was his problem, as he had not been the one to start it. He eventually decided he did not want to return to the role once Patinkin had finished, and announced on his Instagram he would not return after the new August 15 end date.

Patinkin, in the meantime, had apparently not been told he was replacing an actor of color before the original contract was up, and felt it was not his place to take over the role, and so he pulled out only days after his casting was announced.

Dave Malloy took to Twitter and sent out a series of tweets, apologizing for not having seen the racial optics of the situation, and explaining the financial situation. He noted that he was not sure the show had a future.

The producers scrambled to find another star to take over, but by that time the show had ceased to become “that Josh Groban musical” and suddenly became “that musical that’s now tied to a racial controversy so it would be really bad for a white actor to take over after Oak, plus now we know the show is failing so that looks even worse for us” and a TV star who had been training to take over for Oak pulled out.

Point: I have heard that said-TV star was Rainn Wilson. I’m...not entirely positive that would have worked anyway.

With no bankable star and no way to make up for the lost money, the theater was handed back to the Shubert Organization, who subsequently scheduled the upcoming revival of Carousel to take the theater. Comet closed to a sold-out audience on September 3, 2017.

End of story? Well, not exactly. Recently, Oak did an interview with Forbes talking about Colin Kaepernick’s recent protests and how it had spread. During the interview, he noted the Broadway community should “take a knee” with Kaepernick, and brought up the Comet:

“I played Pierre, a white Russian aristocrat, and my co-lead was Denée Benton," said Onaodowan, the child of Nigerian immigrants, of his role in The Great Comet. "Two black leads playing not black people--it was an important moment for the Broadway community to say diversity is possible and it's here."

But, he added, there is more to diversity than just existing, it must be nurtured--and that's where The Great Comet failed.

"You have to cultivate diversity for it to work, and I feel the Great Comet didn't take the time to cultivate it. They didn't want to invest in it," he said. "That's how diversity becomes a gimmick or device, when it is introduced but not supported."

Oak’s comments quickly sparked outrage from both the Comet fandom and even the cast (see Sumayya Ali’s essay on the topic): after all, The Great Comet had won shortly before its closure an Extraordinary Excellence in Diversity award on account of its diversity. To the fandom, and even to cast members Cathryn Wake, Celia Mei Rubin, and Nicholas Belton, it appeared Oak was essentially lying about the diversity of the cast. In addition, the MakeRoomForOak people returned to claim Oak “deserved an apology from the entire Great Comet fandom,” an apology the fandom felt no obligation to give.

Which brings us to now: our central question is what killed the Comet? Well, despite what the NY Post and even The National Review may claim, there’s no single answer. To come up with the answer(s), we need to bring up a few points.

There has been some suggestion money was being mishandled at the Comet from the start

The Post recently reported a group of investors in the show requested an audit: they are demanding answers as to why a show that was regularly taking in $1 million a week only returned 15% of the investment.

Dean Roth, one of the investors, said the following:

What determines whether a show runs is if it can continue to make money for the producers. Great Comet has, in my opinion as an investor, been grossly mismanaged from the start. Where the original budget had the show sustaining itself with a weekly gross in the $750k range, by the time all was said and done, we need nearly $900k to break even. Further, had budgets been followed, there would have been a healthy reserve in place to get the show through the seasonal trough in Aug-Oct to the highly profitable Nov-Jan months. There was little reserve, so this controversy made for an almost immediate closing.

Again, I’d like to state I’m not a financial expert, and I’m not privy to what was going on financially with the Comet. But if the show was regularly taking in a weekly gross of over a million and the money could have been reserved to keep it going during the summer months, what happened? Where did it go? Could that money have saved the show?

It’s worth bringing up that the money issues aren’t the first time the producers have been embroiled in a potentially unnecessary issue. Some of you may recall back in October when the show opened there was a bit of a controversy regarding the show having the pre-title “The Ars Nova production of,” seeing as the show had originally been developed for Ars Nova and the Kagans, the producers, were on Ars Nova’s board. The original contracts had required the use of this pre-title, yet the programs did not label it as such, instead listing Ars Nova among other contributors. When Ars Nova complained, rather than agreeing Howard Kagan banned the board of Ars Nova from being able to attend the show. Needless to say, this caused some controversy: the cast was silent, but supporters of the show quickly called this out and the situation was resolved.

While this incident seems unrelated to the money issues, it does suggest a lack of judgment particularly on Howard Kagan’s part. After all, his poorly-worded announcement about Oak leaving and his initial responses helped stoke the flames of the MakeRoomForOak people. In any situation, it is not wise for a rich white guy to downplay the concerns for people of color.

This is based purely on my opinion of Kagan, but I think it’s safe to say we can name the producers as a culprit.

Culprit: The Producers

A lot of the MakeRoomForOak people are Hamilton fans with little to no knowledge of The Great Comet or who is in it

If we’re basing this on the response I’ve personally gotten from some in the following, this has no bearing on the situation and does not affect their opinions. Only, well, it kind of does.

The Great Comet is very easily diverse: just one look at the cast and knowing the history of the show demonstrates it. Rachel Chavkin actively strives for so-called “color blind” casting, although in her case it would be more appropriate to say she’s “color conscious”: diversity is not only an element, it’s an essential part of her productions, including the two I’ve seen, Hadestown and Primer for a Failed Superpower. Part of Comet’s cult-following Off-Broadway came from its diverse casting.

While that following continued to Broadway, the show wasn’t becoming known as “that new highly diverse musical”: again, it was becoming “that Josh Groban musical.” The diverse element of the show was known if you were familiar, and indeed some Hamilton fans, knowing of Phillipa Soo’s connection, easily became enamored with it. I myself first fell in love with the Comet after learning Phillipa Soo had been in it.

Here’s the thing though: Great Comet is a really strange musical. Its style doesn’t necessarily appeal to everyone in the Hamilton fandom, so it’s safe to say some just didn’t pay it much mind. And in a case like that, it’s actually quite easy for you to miss the fact that the show was already extremely diverse.

It’s also worth noting even for people who haven’t been living under a rock that there isn’t really a musical theater fandom quite like Hamilton’s: the way people have connected to the show is akin to a fandom for a widely-seen TV show like Sherlock or Supernatural. People write fanfiction and become attached to the original cast members. So attached, in fact, that they will become highly protective of them to the point of deciding they can do nothing wrong.

In the long-run, it certainly helps overall political causes that Hamilton has attracted and encouraged a new generation of political activists striving for diversity in theater. However, these same activists are also fans, and it’s not uncommon for fandom to mistake their own obsession with a character or actor for reasons for social-justice activism. Do y’all remember that whole Steven Universe fiasco?

“Which one?” the smartass asks.

A lot of potential discourse regarding #MakeRoomForOak has boiled down to this:

For the MakeRoomForOak person, Oak being a member of Hamilton’s original Broadway cast and also being an actor of color inextricably ties him to diversity in theater, and so long as one show he’s in decides to cut him loose, diversity for that show thatI’veneverevenheardofIjustknowOakisinit is officially over, and anyone who disagrees with me on that “obviously doesn’t care about POC.”

For the Comet fan, it comes to trying to explain to someone who’s protective of their precious actors that they’re forming a lot of opinions about a show and its creative team that they’ve never even heard of, especially not knowing Chavkin and Malloy’s history with diversity, and shutting down any potential discourse. Because the MakeRoomForOak person doesn’t think there is any discourse––as I learned from my SJW years, anyone who disagrees with you is inevitably wrong, the world is Black-and-White, and people are either racist or not racist.

This incredible refusal of discussion and crowding behind Oak from a highly vocal fandom very much increased the controversy and helped make the show nearly untouchable.

The culprit: The Hamilton fandom

Casting Oak and Josh Groban in this show was kind of a bad idea

I mentioned earlier that the show’s reputation before it came to Broadway was its diversity and its unique staging. Remember Hamilton? Even though we all knew Lin from In The Heights, what drew people to the show was the idea of portraying this historically white actors with people of color and portraying it through hip-hop. There were no really well-known Broadway celebrities except possibly Lin and first Brian D’Arcy James and then Jonathan Groff, but people weren’t crowding to see the show because of them, they heard about the unique concept and it turned out brilliant.

A similar thing happened to the Comet off-Broadway. But as the financially dictated Broadway system has proven more than once, a show needs a bankable star to sell it. Especially for an expensive show like Great Comet, there needed to be confidence. Hamilton took the risk of no huge stars and it paid off. But The Great Comet played it kindasortanotentirely safe by casting Josh Groban.

As I said before, this resulted in it ceasing to become known as “that immersive musical” and suddenly becoming “that Josh Groban musical.” Suddenly the success of the show was linked to Groban, meaning if they couldn’t get someone with a big enough name to replace him the show could be doomed.

Point: This is literally what happened to American Idiot. It was doing well on its own, then they cast Billie Joe Armstrong as St. Jimmy, and suddenly that role became linked to what celebs they could get to play it. When they couldn’t get anyone, the show tanked and had to close.

Oak is a very talented actor and Tony-nominated. But let’s be honest: he’s not Josh Groban famous. The Hamilton actors who have gained the most in celebrity status have been Lin, Leslie Odom Jr., Renee Elise Goldsberry, and Daveed Diggs: it certainly helps that they’re the ones who won the Tonys. Oak is still mainly known to the Hamilton fandom.

Another point: Because the majority of the Hamilton fandom is people outside of NYC who often cannot afford to see live theater, casting a Hamilton star does not necessarily lead to show success. Amelie was banking on Phillipa Soo drawing a Hamilton audience, but the show tanked and closed pretty quickly.

This one you could blame on casting, but I’m not going to. Because the thing about Hamilton and in fact a lot of the few original musicals out there is that to end up on Broadway they took a lot of risks. And a lot of shows aren’t confident enough to take that risk of not using a celebrity to sell the show, yet they’re still pretty successful. It’s a tough one, but I think the culprit here is the business side of show business haunting the producers.

Culprit: The Heavily Financially Dictated Broadway System

There’s a lot to be said about Oak’s perceived aloofness towards the show and the controversy

Oak states in the NY Times article that he was given the role with the understanding he would have a lot less work to do than he ended up doing. On a personal level, I doubt this, considering just how demanding a role Pierre is. But I also don’t doubt the possibility of Oak being groomed for the role with the understanding he would just sit around and sing occasionally with one big solo number. I find it unlikely (considering Patinkin when he was announced mentioned he had been training to play the accordion for only two weeks; Oak had several months to prepare), but the possibility exists.

When the controversy began, there were a lot of loud voices. But one that stayed oddly silent was Oak’s.

Mr. Onaodowan said that it was not his obligation to stanch a controversy that he did not create.“If people feel strongly and passionately about something, I’ll let them speak strongly and passionately — I’m not going to tell them not to,” he said. He said he did not believe race was a factor in the show’s decision to replace him, but “there’s a fundamental issue with representation that’s bigger than the show.”

If we’re looking at this from the lens of fans and even the cast, it appears that Oak didn’t think his recasting was racially-motivated nor necessarily a factor, but didn’t feel like the controversy was his problem. Personally, I see it more as him pointing out that even if he didn’t mind being recast, he understood there was a bigger picture his recasting implied. However, there’s something to be said about him not saying anything while the situation was in full-swing, besides announcing he would not return and retweeting some of Cynthia Erivo and Rafael Casal’s tweets.

But you do have to bring into account Oak’s statements on the Comet not “investing in diversity.” As some of the POC cast members Sumayya Ali, Azudi Onyejekwe, and Celia Mei Rubin have pointed out, the show was actively interested in diversity: just look at the cast.

But there’s a larger point, which is why I’m not going to list Oak as a culprit. Because no matter how annoyed I can get at him for seemingly not caring about the show, there’s a matter even I have to admit to...

Oak is not entirely wrong

Oak, and in fact a lot of the POC actors on Broadway, have been outspoken on their political beliefs. Hamilton has always been a political show, with the cast addressing then-future Vice President Mike Pence when he came to the show, and the cast members often commenting on current events. Remember the Forbes article? The central focus was on Colin Kaepernick’s recent silent-protest regarding public ignorance of police brutality aimed at African-Americans. This has been on the news a lot lately, and Oak, being Nigerian-American himself, is easily a political activist. And I appreciate that: an actor of color bringing the real world issues into the white-dominated theater world. This is something that comes quite close to Oak’s heart. And he’s right about Broadway in general: y’all remember how white the Tonys were this year?

On the topic of his “invested in diversity” comments, I want to point out something. The initial casting notices were all emphasizing diverse casting, and the opening cast was extremely diverse. But what inevitably happens in a Broadway show is that as the year passes actors get outside opportunities and leave. While the previously-white Pierre was taken over by Oak, a lot of the diverse ensemble began to leave the show and had some of their roles taken on by white actors. Granted, it was still quite diverse, but why was there not a concerted effort to make sure the replacements were also POC, like they’ve done with Hamilton?

Point: Even then, I really do have to question his complete silence about the whole business when it was in full swing. The situation very much involved him, and if I am going to take him as a vocal activist, staying silent did not do much for his benefit nor the show’s. In all honesty, I have some doubts about seeing Oak in a Broadway musical in the near-future.

Now I want to address the two extremes.

To the people criticizing Oak

STOP BLAMING OAK FOR THE ENTIRE SHOW CLOSING. I swear to god, there were so many factors that led to the Comet closing, you’re seriously just running in circles if you keep claiming he had sole blame. No one actor is gonna take down a show, and the word “business” is right there in the name “show business.”

Also, the only reason you think Oak is to blame is because as fans you have been following the coverage a lot. If you’re gonna bring that coverage into the foray, you gotta cite it. Otherwise the people who can’t be bothered to look for themselves assume you’re making it up.

To the extreme MakeRoomForOak people

STOP ASSUMING YOU’RE THE ALMIGHTY BASTIONS. You know how many threads I’ve seen where people point out “well Oak did have some effect” or “the show was already committed to diversity” only to have the reply “the people in this thread obv don’t care about POC smh” or “these are obviously white people talking.” Newsflash! Your precious Hamilton is not the only show with POC or fans who are POC! If you’re gonna approach this with absolutely no background on the show’s history, its cast, its history of commitment to diversity, or even bothering to find out about the cast’s statements on the matter, you’re just gonna keep shouting in an echo chamber!

So, that’s it. Now, you may have noticed I avoided naming a single culprit or necessarily putting forward a single viewpoint. Why? Simple: nuance.

As I’ve said and many others have said, there is no single answer to why the Comet closed. Oak, despite being passive, overall had little to do with the controversy. Plus, it’s hard to say if the controversy would have mattered: could Patinkin really have kept the ticket sales up? Was the show just going to become a stud-casting show? If Oak had said anything, would that have encouraged people to come anyway? Could all of this have been avoided further back with some other decisions?

In the end, this post changes nothing. The Great Comet closed a month ago, and in all likelihood won’t return to Broadway, barring a goddamn miracle. But I think if the whole mess of its closing is gonna keep flaring up every once in a while, people need to know just how complicated it was.

#okieriete onaodowan #the great comet #natasha pierre and the great comet of 1812 #great comet

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strengthsbasedmediocrity · 7 years

Link

This was tweeted by Joey Cassata, Great Comet's drummer. If this is true, then welp, there goes any respect for Oak that I may have had.

#the great comet #natasha pierre and the great comet of 1812 #four months and couldn't memorize lines???

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gaymusicchart · 7 years

Video

youtube

Gay Music Chart Awards 2016 : the nominations

Here are the nominees :

BEST SONG

Adam Lambert - Another Lonely Night

Alvin Point - Il a dit

Eli Lieb, Steve Grand - Look Away

GAREK - Stray

LP - Lost On You

Markus Feehily - Sanctuary

Sia - The Greatest

Steve Grand - We are the Night (Dave Aude Remix)

Tegan & Sara - Boyfriend

Troye Sivan - Youth

Tyler Glenn - Trash

Years & Years - Meteorite

BEST SONG / MUSIC VIDEO WITH A MESSAGE

A Song For Orlando – Hands

Asbjørn - BOY PWR

Benny - Boys Will Be Boys

BP Major - Divine Cure

Daff - Glitterpojke

Danielle LoPresti - Holy

Erik Blood - Chase the Clouds

FLETCHER – Princess

Greg Gould - Run To You (#KeepRunning)

Immanuel Casto, Romina Falconi - Who is afraid of Gender?

K3 - Prinsesje en Superman

Pansy Division - Blame It On The Bible

BEST ARTIST

ANOHNI

Brendan Maclean

Eli Lieb

Garek

Ryan Cassata

Sia

Steve Grand

Tegan & Sara

Troye Sivan

Tyler Glenn

Years & Years

MOST PROMISING ARTIST

6 Pack Band feat. Sonu Nigam - Sab Rab De Bande

Alvin Point

Billy Gilman

Brian Justin Crum

Kevin Abstract

Lontalius

Lostchild

Oscar Zia

Ro Rowan

Saara Aalto

BEST GAY MUSIC VIDEO

Alvin Point - Il a dit

Cristal Snow - Love is Blind

Eli Lieb, Steve Grand - Look Away

GAREK – Stray

Miike Snow - Genghis Khan

Markus Feehily - Sanctuary

Osvaldo Supino – Infinity

Patricio Arellano - Nuevo Sol

ROXETTE - Some other summer (fan video)

Tyler Glenn - Midnight

BEST LESBIAN MUSIC VIDEO

Dodie - Sick of Losing Soulmates

LP - Lost On You (1033 pts)

Mary Lambert - Hang Out With You

Matilda feat. OMVR – Apologize

Ria Mae – Gold

Rooms - Stars Beyond

SEE – Potions

Tegan and Sara – Boyfriend

The Veronicas - On Your Side

Zolita - Holy

BEST BISEXUAL MUSIC VIDEO

Alicia Champion - Bi

Edward Barrow - Toi, elle et moi

Jarryd James feat. Broods - 1000x

Ricky Rebel - Boys & Sometimes Girls

Silva - Feliz e Ponto

BEST TRANSGENDER MUSIC VIDEO

6 Pack Band feat. Sonu Nigam - Sab Rab De Bande

CorsA - Hiding Love

Declan McKenna – Paracetamol

MaDame Düx - Say Goodbye

Pooh – Pierre

Ray BLK feat. SG Lewis - Chill Out

Ro Rowan – 1997

Ryan Cassata - Bedroom Eyes

Sunkee Angel - I Am Not a Label

The Parkinson - เพื่อนรัก (Dear Friend)

BEST QUEER MUSIC VIDEO

Autoheart - Oxford Blood

Brendan Maclean - Free to Love

Kiddy Smile - Let A B!tch Know

Madblush - Love Love Love

Mykki Blanco feat, Woodkid - High School Never Ends

Of Montreal - It's Different For Girls

Peaches – Vaginoplasty

PWR BTTM - I Wanna Boi

Tanzer - Johnny

Years & Years - Meteorite

BEST DRAG QUEEN MUSIC VIDEO

Alaska Thunderfuck – Anus

Aretuza Lovi feat. Gloria Groove – Catuaba

Athena - Ses Etme

Bob The Drag Queen feat. DJ Mitch Ferrino - Purse First

Kika Lorace - Arriba, Maricón

Låpsley - Operator (DJ Koze Radio Edit)

Lorena Herrera - Karma

Manila Luzon & Alaska Thunderfuck - Working Holiday

RuPaul - The Realness

Sharon Needles - Hollywoodn't

BEST COMING-OUT / COMING OF AGE MUSIC VIDEO

Cors A - Hiding Love

Declan McKenna - Paracetamol

FLETCHER – Princess

Hampus Carlsson - Flera Meter Under Marken

Lontalius – Glow

Lost American - Put Me in a Spell

Pixie Geldof - Woman Go Wild

Tom Goss - Son of a Preacher Man

Troye Sivan – Youth

Yossarian - Talking Too Loud

BEST COVER

Art Attack - Same Love

Betty Who - I Love You Always Forever

Emmanuel Moire - Le chanteur

GoodLuck - Thinking About You

J Sutta - Damn! (I Wish I Was Your Lover)

Marina & The Diamonds - True Colours

Michael von der Heide & Paola - Wo ist das Land

Pentatonix - Hallelujah

Pentatonix & Dolly Parton - Jolene

Prep School - Come As You Are

Samuel Forstved - Into You

Tom Goss - Son of a Preacher Man

BEST LIVE PERFORMANCE

Agata Vilchik / Агата Вильчик - Oy davno / "Ой, давно" - live @ The Voice Ukraine

Bagarre - La bête voit rouge (live @ Eurockéennes de Belfort 2016)

Billy Gilman - all acts @ The Voice 2016

Brian Justin Crum - all acts @ America's Got Talent 2016

Douwe Bob - Slow Down (live @ Eurovision Song Contest 2016)

Hovi Star - Made Of Stars (live @ Eurovision Song Contest 2016)

Jan Cina - Hung Up (cover) live @ Tvoje tvář má známý hlas 2016

Melissa Etheridge - Pulse (live @ Infinity Hall, New York, 2016)

Oscar Zia – Human (live @ Melodifestivalen 2016)

Troye Sivan - Blue Neighbourhood Tour

BEST DANCE / CHOREOGRAPHY

Gay Acrobats Create Stunning Visual Art - THE ARROW [Love. Pride. Truth.]

Lyon Hart - Falling For You

Sia - Cheap Thrills

Sia - The Greatest

X Ambassadors - UNSTEADY | Official Dance Video #LoveisLove

You & Me: coming out a passo di danza (Italia's Got Talent)

BEST ORIGINAL SOUNDTRACK

Anh Tú - Giấc Mơ Không Nhoà ("Thần Tiên Cũng Nỗi Điên" OST)

Dean Fujioka - History Maker ("Yuri On Ice" Opening OST)

J. Ralph & Anohni (F.K.A. Antony) - Manta Ray ("Racing Extinction" OST)

Nat Sakdatorn - ความหมายที่หายไป / Khwam hmay thi hay pi phelng (OST Fathers) (2016)

Years & Years - Meteorite ("Bridget Jones Baby" OST)

許魏洲 / Xu Weizhou - 慢慢走 / Walk Slowly (《上癮》 / “addiction” OST) (2016)

BEST LYRIC VIDEO

A Song for Orlando - Hands (Lyric Video)

Isaac Folch feat. Eyzzex - Howling (3D lyric video)

Mc Linn da Quebrada - Talento (Lyric Video)

Melissa Etheridge - Respect Yourself (Lyric Video)

Pet Shop Boys - The Pop Kids (Lyric Video)

Sia feat. Sean Paul - Cheap Thrills (Lyric Video)

BEST MUSIC VIDEO FROM ARGENTINA

Gray Pop - El es(c)eloso REMIX

Patricio Arellano - Nuevo Sol

BEST MUSIC VIDEO FROM AUSTRALIA

Betty Who - I Love You Always Forever

Brendan Maclean - Free To Love

Greg Gould - Run To You (#KeepRunning)

Sia - The Greatest

The Veronicas - On Your Side

Troye Sivan - Youth

BEST MUSIC VIDEO FROM AUSTRIA

Andreas Gabalier - Hulapalu

Sankil Jones - One More Sound

Virginia Ernst - If Not Tonight

BEST MUSIC VIDEO FROM BELGIUM

Els De Schepper - Kom uit de Kast

K3 - Prinsesje en Superman

LaDiva Live - Love Is On Its Way

Regi & Sem Thomasson feat. LX - The Party Is Over (DJ Antoine vs Mad Mark 2k16 Video Edit)

Selah Sue - Reason

The Magician feat. Brayton Bowman - Shy

BEST MUSIC VIDEO FROM BRAZIL

Aretuza Lovi feat. Gloria Groove - Catuaba

Jaloo - Chuva

Madblush - Love Love Love

MC Queer - Fiscal

Pollo feat. Joey Mattos - Hoje Eu Acordei

Silva - Feliz e Ponto

BEST MUSIC VIDEO FROM BULGARIA

AZIS - HABIBI (latino version) / Азис - Хабиби (латино версия).

Galena & TS. Yaneva feat. Azis - Pey Sartse / Галена и Цветелина Янева ft. Азис - Пей, сърце

Slavi, Gumzata & Ku-Ku Band - Byagay / Слави, Гъмзата и Ку-Ку Бенд - Бягай

BEST MUSIC VIDEO FROM CANADA

Kaytranada - Lite Spots

Lucky Rose feat. Yan Etchevary - The Way You Want Me

Peaches - Vaginoplasty

Ria Mae - Gold

Scotty Dynamo - Not Like You

Tegan and Sara - Boyfriend

BEST MUSIC VIDEO FROM CHILE

Alex Anwandter - Siempre es viernes en mi corazón

El Virgo - Malviaje Astral

Namuel - Maldita Ingenuidad

BEST MUSIC VIDEO FROM CHINA

胡齡萌Hu Ling Meng - 從現在到以From Now To The Past

尚雯婕 Laure Shang - 单身男Single Boy

李嘉格Lee JiaGe - 淪陷 Degenerate

馬寧 Manning - 反正都是我 Fanzheng dou shi wo

柳妍熙 Liu Yan Xi - 谁记得 Who Remembered

許魏洲 Xu Weizhou - 慢慢走 Walk Slowly (Addiction OST)

BEST MUSIC VIDEO FROM CZECH REPUBLIC

Jan Bendig - Coming Out

Lipo feat. Debbi - Štěstí

Renato Salerno - Love Emergency

BEST MUSIC VIDEO FROM DENMARK

Asbjørn - BOY PWR

HEIÐRIK - Change of Frame

HEIÐRIK - Red Hair

Jonas Hedqvist - Survivors

Maia - Tordenkys

Martin Strecker - Hvis Du Kysser Min Hånd

BEST MUSIC VIDEO FROM FINLAND

Cristal Snow - Love Is Blind

Cristal Snow - Riding The Storm

Jari Sillanpää - Suurempaa

Saara Aalto - No Fear

BEST MUSIC VIDEO FROM FRANCE

Alvin Point - Il a dit

David Courtin - Main dans la main

Edward Barrow - Toi, elle et moi

Kiddy Smile - Let A B!tch Know

Les Funambules - Au début

Queen Mimosa 3 - Sexophone

BEST MUSIC VIDEO FROM GERMANY

Alexander Geist & Ming Wong with Bendik Giske - That Girl

BILLY - Not Over You

DJ Hell - I Want U

Jan Böhmermann - Be Deutsch! [Achtung! Germans on the rise!]

Maksim Reimer & Band - You Found Me

Matthew Wood - One Life

BEST MUSIC VIDEO FROM GREECE

Giorgis Christodoulou Γιώργης ��ριστοδούλου - To proí me xypnas me filia / - Το πρωί με ξυπνάς με φιλιά

Nikos Karvelas /Νίκος Καρβέλας - O Skilos Mou Einai Gay / Ο σκύλος μου είναι Gay

BEST MUSIC VIDEO FROM ICELAND

Bjartmar Þórðarson - Við getum sameinast

Páll Óskar - Þá mætir þú til mín

Páll Óskar - Vinnum þetta fyrirfram

Sigur Rós - Óveður

BEST MUSIC VIDEO FROM INDIA

6 Pack Band feat. Sonu Nigam - Sab Rab De Bande

Aman100 - Bapu Sada Kehnda

Friends of Linger - Miss You

Nakash Aziz - India ke sare gay

Nanok feat. Ray Dee - Lay You Down

BEST MUSIC VIDEO FROM IRELAND

Jack O'Rourke - On The Downlow

Markus Feehily - Sanctuary

Nathan Carter - Temple Bar

Villagers - Wichita Lineman

Wallis Bird - Change

BEST MUSIC VIDEO FROM ISRAEL

Eliad Makli - God / אליעד מלכי- שה

Hovi Star - Made of Stars

Offer Nissim feat. Dana International - We Can Make It

Pet Shop Boys - The Pop Kids (Offer Nissim Remix) Purim Tribute

Sean and John - Agada / Legend" (שון אנד ג׳ון עם אריסה - אגדה)

Tel Aviv Pride Parade 2016 / Omer Adam feat. Arisa - Tel Aviv / עומר אדם עם אריסה - תל אביב

BEST MUSIC VIDEO FROM ISRAEL

Alex Palmieri - Save Me

Immanuel Casto, Romina Falconi - Who is Afraid of Gender?

Luna Palumbo - Casomai

Osvaldo Supino - Infinity

Pooh - Pierre

Simonetta Spiri, Greta Manuzi, Verdiana Zangaro, Roberta Pompa - L'amore merita

BEST MUSIC VIDEO FROM JAPAN

AKB48 - Kimi wa Melody / 君はメロディー

Dean Fujioka - History Makers

Enjoy Music Club - Summer Magic《夏の魔法》

Hikaru Utada 「宇多田ヒカル」- Tomodachi 「ともだち」

Secret Guys - Sky March

風男塾 (Fudanjuku) / もしも　これが恋なら (Moshimo korega koinara)

BEST MUSIC VIDEO FROM MEXICO

Daniela Calvario - Marchate

Kinky - Macho

Lorena Herrera - Karma

Luis Lauro - Adios (So Long)

Reik - Ya Me Enteré

Thiago Di Melo - Pra Sempre

BEST MUSIC VIDEO FROM THE NETHERLANDS

Belinda Jose en Denise - Oya Lélé

Douwe Bob - Slow Down

Ivann - Ik geloof in jou

Koen Kardashian - Met je Prada’s in de modder

Vangelis Sopamena - Voor Ons

Vicetone - Hawt Stuff

BEST MUSIC VIDEO FROM NEW ZEALAND

Ladyhawke - A Love Song

LarzRanda - Turtles

Lontalius - Glow

Mika Haka feat. Lavina Williams - Loved Me A Man

WCB - Overdone

BEST MUSIC VIDEO FROM NORWAY

Anna of the North - Us

Kygo feat. Maty Noyes - Stay

Master Mind - Electric

Matilda feat. OMVR- Apologize

Nils Bech - Please Stay

The Hungry Hearts - Laika

BEST MUSIC VIDEO FROM THE PHILIPPINES

Bassilyo - Taxi Driver

Sebastian Castro - Feel the Bern

BEST MUSIC VIDEO FROM POLAND

Jakub & Dawid VS ROXETTE - Some Other Summer (fan video)

Koy – Faces

Sexy Suicide - Never Forget

BEST MUSIC VIDEO FROM RUSSIA

CorsA - Hiding in Love

Drift - I Fled The Horizon

Kevin2K - YA budu letet' / Я буду лететь

KGBears -Eksponat / Piece “Экспонат” (Eksponat / Piece)

Man-G / Менджи - Chocolate Boys / Мальчики-Шоколадки

Pussy Riot feat. Desi Mo & Leikeli47 - Straight Outta Vagina

BEST MUSIC VIDEO FROM SOUTH AFRICA

Chris Chameleon - Hurt

Die Antwoord - Banana Brain

GoodLuck - Thinking About You

Nakhane Touré - Blackened and Bruised

The Kiffness feat. Tawanna Shaunte - You Say You Love Me

Toya Delazy - Nu High

BEST MUSIC VIDEO FROM SOUTH KOREA

Brave Girls (브레이브걸스) - High Heels (하이힐)

Gain, Minseo (가인, 민서) - Imi Oneun Sori (임이 오는 소리)

MERCURY - Don’t Stop

SISTAR (씨스타), Giorgio Moroder - One More Day

Sweet Revenge (스윗리벤지) - Silkeos uldaga bomyeon (실컷 울다가 보면)

Wonder Girls - Why So Lonely

BEST MUSIC VIDEO FROM SPAIN

Creadores de la Memoria - Álex

Kika Lorace - Arriba, Maricón

Loquillo - En el final de los días

Mateo Bocca - Quisiera Volar

Monica Moss - Woololeiu #ChicaFina

Yeyo - Invencible

BEST MUSIC VIDEO FROM SWEDEN

Ängie - Smoke Weed Eat Pussy

Daff - Glitterpojke

Hampus Carlsson - Flera Meter Under Marken

Midnight Boy - When You’re Strange

Miike Snow - Genghis Khan

Oscar Zia - Human

BEST MUSIC VIDEO FROM TAIWAN

Gu Xiaowei 古小偉- Be Brave 【一起勇敢】

Jeffrey Tung (董又霖) - Don’t Wanna Be a Stranger《不做陌生人》 [SWAP - OST ]

Kimberley Chen 陳芳語 - Control Your Embrace / 《管你的擁抱 fyf 》

Namewee 黃明志 - Cry Father 靠北

Wen J - Indifferent【無動於衷】

Zhan Ya man 詹雅雯 - Nobody Understood My Love 無人瞭解我的愛

BEST MUSIC VIDEO FROM THAILAND

Gun Achi, Amp - Kwahm Lub Nai Jai / กันอชิ,แอมป์ - ความลับในใจ (Ost. SOTUS The Series)

Happy Polla - Happy

Nat Sakdatorn - "Meaning Lost" ความหมายที่หายไป (OST Fathers)

OZMO Feat BangBangBang + Bsyde - Higher

The Parkinson - เพื่อนรัก (Dear Friend)

ปนัดดา เรืองวุฒิ / Panadda 「 รักไปเจ็บไปไม่เอา / Rak pi ceb pi mi xea / I Love to Go Out」

BEST MUSIC VIDEO FROM TURKEY

Athena - Ses Etme

Bambaşka Biri ft. Yasin Keleş - İrem Derici

Makyaj - Nuri Harun Ateş

BEST MUSIC VIDEO FROM UKRAINE

Agatha Vilchik / Агата Вильчик – Hallelujah (Live @ The Voice Ukraine 2016)

AGHIAZMA - Zombie Dogs

Gaspar - Kings & Queens

Jamala - 1944

JeleZOO - I feel i’m taken away

Loboda - K Chertu Lyubov / Лобода - К Черту Любовь

BEST MUSIC VIDEO FROM THE UNITED KINGDOM

ANOHNI - Drone Bomb Me

Blood Orange - Augustine

David Bowie - Lazarus

Shura - What’s It Gonna Be?

Vince Kidd - Almost Angels

Years & Years - Meteorite

BEST MUSIC VIDEO FROM THE USA (ARTISTS ON BIG LABELS)

A Great Big World - Won’t Stop Running

Adam Lambert - Another Lonely Night

Alex Newell & DJ Cassidy (with Nile Rodgers) - Kill The Lights

Brooke Candy - Happy Days

Coheed and Cambria - Island

Hayley Kiyoko - One Bad Night

LP - Lost On You (2016)

Tyler Glenn - Midnight (2016)

Tyler Glenn - Shameless

Wrabel - 11 Blocks

BEST MUSIC VIDEO FROM THE USA (ARTISTS ON INDEPENDANT LABELS)

Brian Justin Crum - Name On You

Case / Lang / Veirs - Atomic Number

Catey Shaw - The Ransom

Kevin Abstract - Empty

Mykki Blanco Featuring Woodkid ‎– High School Never Ends

Prinze George - Wait Up

PWR BTTM - I Wanna Boi

Rostam - Gravity Don’t Pull Me

SEE - Potions

Sxip Shirey feat. Xavier - Cinnamon Stick

BEST MUSIC VIDEO FROM THE USA (INDEPENDANT ARTISTS)

Benny - Boys Will Be Boys

Chester Lockhart - Kiss

Eli Lieb, Steve Grand - Look Away

Frank Ocean - Nikes

GAREK - Stray

Lyon Hart - Falling for You

Mary Lambert - Hang Out With You

Steve Grand - We Are The Night

Todrick Hall - Straight Outta Oz

Tom Goss - Son of a Preacher Man

BEST MUSIC VIDEO FROM URUGUAY

Dani Umpi - La Yuta

Goro Gocher - No Podrás Salir

Jack Doorman - Wet

Kevin Royk - Ángel de Plata

BEST MUSIC VIDEO FROM VIETNAM

Anh Tú - Giấc Mơ Không Nhoà

Đàm Vĩnh Hưng - Tan Vỡ

Hương Giang Idol - Mùa Để Yêu Thương

Hương Giang Idol feat. R.Tee - Em Không Hối Tiếc

Khắc Việt - Em Cứ Đi Đi

Phạm Chí Thành - Sợ Hãi

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