Santa Rosa Symphony Hosts a Free Fire Relief Benefit Concert Monday, November 20
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Music
SF Gay Men’s Chorus Launches Tour to Fight Bigotry and Discrimination
The San Francisco Gay Men’s Chorus (SFGMC), whose mission is to create extraordinary musical experiences that inspire community, activism and compassion, will kick off its 40th season by embarking on the Lavender Pen Tour from Oct. 7-15. The tour will visit various cities and small towns in Mississippi, Alabama, North Carolina, South Carolina and Tennessee, while raising much-needed funds for local LGBTQ+ nonprofit organizations.
With a divisive political climate in the United States, marked by an increase in dangerous and hostile rhetoric against the LGBTQ and other marginalized communities, SFGMC will take its message and music on the road to promote universal equality and inclusiveness, and the value in treating all individuals – irrespective of differences – with dignity. The Chorus will marshal its mosaic of powerful, positive voices to empower fellow Americans, especially LGBTQ+ youth, to come together, provoke conversations and action around civil liberties for all, while raising funds for local communities.
Joining SFGMC for the Lavender Pen Tour is the Oakland Interfaith Gospel Choir (OIGC), a community of diverse races, cultures and faiths, inspiring joy and unity among all people through black gospel and spiritual music. Together, SFGMC and OIGC will perform five anchor concerts during the tour, with each show raising funds for local LGBTQ+ organizations. All funds raised during the tour will support the vital work these organizations are doing to dismantle bigotry and discrimination locally and nationally.
Country Music Stars Speak Out Against Tennessee Legislation Targeting Transgender Students
Some of the biggest stars in the country music industry are uniting with pediatricians and child welfare advocates, civil rights organizations, the business community and supporters of equality to oppose legislation in Tennessee attacking transgender students in public schools and universities. Emmylou Harris, Chely Wright, Ty Herndon, Miley Cyrus, and Country Music Television are speaking out against HB 2414 and SB 2387 – discriminatory proposals that would further marginalize transgender students and make it illegal for them to use restrooms and other facilities consistent with their gender identity. Their statements are included below.
“Transgender youth already face incredibly high levels of discrimination, bullying, and harassment, and it is appalling that the state of Tennessee would consider requiring public schools to discriminate against them, too,” said HRC President Chad Griffin. “Today, some of the biggest stars in the country music industry are using their voices to try and protect these young people. They join a broad chorus of parents, teachers, child welfare advocates, pediatricians, businesses and civil rights organizations urging Tennessee lawmakers to do the right thing and stop discrimination against transgender youth. Tennessee should block this hateful legislation and commit to ensuring every child has the right to learn without being subjected to discrimination or fear.”
Last week, HRC released an open letter from executives at the Dow Chemical Company, Hewlett Packard Enterprise, Choice Hotels International, Inc., and Alcoa, Inc. urging Tennessee’s lawmakers to abandon the legislative assault on transgender students in Tennessee. Major CEOs and business leaders are speaking out because they know the legislation is bad for business and bad for Tennessee.
Over the last month, bills with language similar to Tennessee’s proposal were vetoed in South Dakota, but enacted in North Carolina, where lawmakers have faced serious backlash. While South Dakota Republican Governor Dennis Daugaard listened to child welfare organizations, pediatricians, parents, and met with transgender children before deciding to veto a similar bill, North Carolina Governor Pat McCrory and the state legislature rammed through a measure that, among other discriminatory provisions, includes a similar appalling attack on transgender students. As a result of North Carolina’s HB2 law, which puts thousands of youth, citizens, employees, and visitors to the state at risk, more than 130 business leaders are calling for a repeal effort during the upcoming legislative session and a number of businesses have begun toremove investments from the state.
The following country music leaders are speaking out against Tennessee legislation to oppose discrimination against transgender youth:
“Those who love and make country music do so because at its best it speaks to the pain and suffering everyone shares in this life. Let’s not make that life harder still for some, with this mean spirited and unnecessary legislation.” – Emmylou Harris
“As an artist living and working in Nashville for more than 20 years, I know how hard it was to struggle for acceptance as a gay woman. The deck is stacked even higher against transgender students who face dramatically increased rates of bullying. This bill will send a devastating message to transgender youth that they are not welcome, included or valued. It goes without saying that their classmates and their communities will hear this message loudly and clearly too; emboldening many of them to double down on that harassment. I have a lot of friends in Nashville with great, big voices and it’s time that we all use our voices to stand up against this scourge of unnecessary, hateful legislation in Tennessee.” – Chely Wright
“As a recording artist and resident of Tennessee this matter breaks my heart. Therefore I stand and join other supporters of equality calling on Tennessee’s elected officials to reject legislation that would harm and marginalize transgender children, already among our most vulnerable young people. Discrimination is always wrong, but it’s particularly heartbreaking to see legislators considering terrible measures targeting, instead of supporting, our children. When I told my mother I’m gay, her only concern was that I would have a happy and successful life. Because My Life Mattered. Let her be our example.” – Ty Herndon
“For a moment a few weeks ago, it seemed like lawmakers in Tennessee had really heard the brave testimony of a transgender young person and her parents. A mother’s simple ask to legislators about what they would do if it was their child who was transgender hit a nerve, and the anti-transgender bill was sent to a summer study session, seemingly killing if for this year. But that was two weeks ago – a lifetime ago, it seems, in light of all that has happened since – and that bill is back.” – Miley Cyrus
“Viacom and CMT have a deep commitment to tolerance, diversity and inclusion, and discriminatory laws like HB2414 and SB2387 are inconsistent with our values. As proud members of Tennessee’s welcoming and vibrant business community, we implore state lawmakers to reject these proposals.” – Viacom and Country Music Television
New Mould Album Deeply Satisfying
Bob Mould cements another level to the ridiculously impressive and influential musical legacy he’s built over a 35-year career with his superb new album, “Patch the Sky.” It’s Mould’s third album in four years, following the stellar “Silver Age” (2012) and “Beauty & Ruin” (2014).
The gay, alternative-rock icon’s career has veered in multiple directions over the decades. He was an integral part of the widely revered trio Hüsker Dü during the ‘80s, recording albums like “New Day Rising” and “Candy Apple Grey” that are among the decade’s most hallowed in alternative rock. After departing the trio, Mould’s acclaimed first solo album, “Workbook” (1989), became one of the cornerstone albums of that era, thanks in part to the hit “See a Little Light.”
Thus started a long and fruitful solo career for Mould that continues strong as ever. Some albums have done better than others (“Copper Blue” with Sugar was particularly successful), and there are some hidden gems (“Black Sheets of Rain” doesn’t get nearly the attention it deserves). “Patch the Sky” is vintage and essential Bob Mould — it builds on everything that has come before it.
The album begins with a cascade of electric guitar descending into the brisk rocker “Voices in My Head.” Mould’s voice sounds as good as ever and the melody grabs hold immediately. It’s like welcoming back an old friend, and he’s unburdening himself the only way he knows how. ”The End of Things” is particularly savage and seems imbued with bitterness. The band plays with reckless abandon, like the whole thing is going to careen off the rails at any moment but never does.
Bob Mould’s new album is a visceral, satisfying and succinct new chapter in an illustrious career. (Photo by Alicia Rose)
“Hold On” is a tight-as-nails melodic rocker that could fit onto “Copper Blue” with no problem. Mould delivers an impassioned vocal which is well down in the mix to be part of the electrical storm surrounding it. “You Say You” is a rigid three minutes of garage rock played with tight precision. Mould has surrounded himself with ace musicians (Jason Narducy on bass and Jon Wurster on drums) for this set, and that comes through loud and clear in every song.
”Pray for Rain” is a force of nature, a potent hard rock explosion with blistering guitar. One imagines it was so loud when it was recorded that the air practically sparked with electricity. “Hands are Tied,” at a brisk 1:45, could be a raucous ode to the days of playing tiny rundown hell-holes with Grant Hart and Greg Norton in Hüsker Dü. “Black Confetti” is one of the album’s more complex tracks, with an expansive sound and tremendous vocal by Mould that’s submerged in massive swells of guitar.
Mould says on the Merge Records website that the dark intensity of “Patch the Sky” reflects ongoing turmoil in his personal life.
“I’ve had a solid stretch of hard emotional times, and thanks for the condolences in advance. I don’t want to go into the details — more death, relationships ending, life getting shorter — because they’re already in the songs. Just listen and see if you can fit yourself into my stories. The words make you remember. The music makes you forget.”
As a catharsis, the album delivers. It’s tight, potent and packed like a musical sucker-punch. “Patch the Sky” gives us everything we love about Bob Mould. The raw energy and frazzled emotion are there. These feelings are wedged into three-minute power-pop gems that are performed with blazing intensity and musical dexterity.
Mould’s remarkable career continues with yet another great album. How long can the Rock and Roll Hall of Fame continue to ignore Mould and this enormous contributions to rock and roll? “Patch the Sky” likely won’t be a Top 10 album, and it will most likely be die-hard fans that pick it up. This is a shame, because Mould is one of the preeminent rock musicians still going strong in American music, and it’s time his consistently strong and vast body of work gets the recognition it deserves.
– See more at: http://www.washingtonblade.com/2016/03/24/new-mould-album-deeply-satisfying/#sthash.n6Lqwfw7.dpuf
Andy Bell of Erasure Shines in the Spotlight as ‘Torsten, The Beautiful Libertine’
Erasure lead singer Andy Bell has released his sixth solo album, “Torsten, The Beautiful Libertine,” a jaunt through theatrical compositions of a ‘polysexual semi-immortal’ character known as Torsten.
“Torsten, The Beautiful Libertine” extends the show that began with 2014’s “Torsten, The Bareback Saint.” Originally a theatrical one-man performance written by composers Barney Ashton-Bullock and Christopher Frost, ‘Beautiful Libertine’ continues the story as told through lyrical postcards from Torsten’s outside memory. Think Alan Cumming meets Marc Almond.
Andy explains, “Torsten seems to me like a dream that has come true. I was told the piece was especially written with me in mind and I really believe that. So many aspects of the various songs resonate with parts of my life. So, I know I was there. There is a melancholic beauty held within the songs.”
These are not the electro-pop gems Bell is known for with Erasure. Lyrically, songs are raw and gritty if not outright adult and almost startling. After more than 30 years as a pop singer as well as being openly gay and HIV positive, Bell offers the perspective to give these songs soul and life.
While ‘Bareback Saint’ was somewhat of a challenge for listening and even a bit choppy to follow, ‘Beautiful Libertine’ is far more consistent. The album flows both musically and lyrically.
With the opener “Statement of Intent,” Torsten/Bell brags, bitches and gloats. Later in the narrative, Bell sings “Blow Jobs for Cocaine” telling of dyke bars and sex on the brain. Yet, the fresh pop sound of “My Precious One” could easily fit onto one of Erasure’s albums. Not surprisingly, it is the best selling track on iTunes from the album.
“I Am the Boy Who Smiled at You” seems to be a sequel to “The Boy from the Sauna” from ‘Bareback Saint.’ Torsten/Bell laments of a future never realized when a married man refuses his advances.
“I love my Torsten! Even more now that he is becoming slightly unhinged…unraveling before our very eyes! I don’t believe that his spirit will ever be broken though,” says Bell.
“For all his lives and lovers and losses, the songs from the ‘Beautiful Libertine’ have a healing quality and a deep resonance that make you realize that he is putting everything into perspective and coping,” Bell adds.
Bell’s voice has never sounded better. The music gives his expressive tenor voice the opportunity to shine in the theatrical spotlight it deserves as “Torsten, The Beautiful Libertine” takes the show tune and upends it. It delivers some raunch and lands a few punches on the bruising life of this semi-immortal man as he grows older, wiser and maybe even disgruntled at times. But then again, who can’t relate to that.
Antigone Rising Releases Music Video From the Soundtrack of the Lesbian Mob Comedy ‘Alto’
Antigone Rising (AR) has announced the release of the brand new music video (above) for their song “Everywhere is Home” from the popular lesbian mob comedy feature film Alto.
Alto is a quirky love story set in the midst of an unanticipated run-in with the New York mafia.
It stars Diana DeGarmo, Natalie Knepp, David Valcin, Lou Martini, Jr., Melanie Minichino, and AR’s own Nini Camps.
Alto’s film producer Toni D’Antonio had produced the music video for the band’s massive hit “That Was The Whiskey”, and film director Mikki del Monico directed it.
As for the little behind-the-scenes story of the video: in the film, Diana DeGarmo sings lead with Nini Camps (who co-wrote the song with Daniel Tashian and plays best friend Kat) on background vocals. This past month (February 2016), Antigone Rising took to the stage to sing their song, this time with Nini Camps where you can usually find her: on lead vocals. The music video uses both!
Antigone Rising continues to rise to the occasion fusing their success in the music industry with educating youth around the globe as Cultural Ambassadors to the United States Government.
The band has successfully launched their own non-profit organization, Girl Bands Rock (www.GirlBandsRock.org) – to inspire and educate kids, especially young girls, that it’s ok to think outside the box and pursue careers in non-traditional fields. They have partnered with school districts and youth centers all over the country to create innovative programming dedicated to building confidence in youth by developing leadership and creative skills through musical workshops, outreach programs and performances.
For the all-female-boot-stompin’-alt-country-rock band Antigone Rising, helping aspiring young artists while giving back to their community is something that comes second nature to a group that is helping to create music and history.
Best known for relentless touring and masterful musicianship, Antigone Rising played upwards of 280 shows a year in their early days. Whether it was an open mic on a Monday night or a jam packed New York City hometown show, the ladies and their infamous Vanna White (the band’s beloved 15 passenger van) eventually blazed a trail straight to arenas alongside some of the biggest names in rock history including The Rolling Stones, Aerosmith, The Allman Brothers Band, The Bangles and Rob Thomas.
For more information visit: girlbandsrock.org ; AntigoneRising.com ; altothemovie.com
BBC Rules that Radio Presenter Was Wrong When He Called a Homophobic Bigot a ‘Bigot’
The BBC has ruled against a radio presenter who was forced to leave his show after calling a homophobic campaigner a ‘bigot’.
Iain Lee, who up until November 2015 hosted the BBC Three Counties Radio show, had interviewed a member of extremist group Christian Concern after a prison gardener was disciplined for quoting Bible passages including calling homosexuality an ‘abomination’.
During the interview, Lee challenged the homophobic campaigner Libby Powell’s views as ‘bigoted’.
He said: ‘Do you support bigotry? Yes, homophobia is bigotry … I guess you don’t know what the definition of bigotry is – and considering you’re from a legal centre, that’s a little bit worrying.’
Both the station and Lee issued an apology, even though the latter said he stands by both interviews in terms of their content and tone.
In a ruling published today (8 March), the trust said the interviewees were ‘not treated with respect but instead faced significant personal criticism and challenge and that, overall, the tone of the interviews was inappropriate’.
They added: ‘They believed that the BBC’s local radio output had a critical role to play in terms of enabling the widest possible public debate and that local radio presenters had considerable leeway to be provocative to engage audiences.
‘However, they considered that where presenters appeared to defend a particular stand on an issue in an inappropriately combative manner the effect was not to broaden debate but was likely to be the opposite – as potential callers might be less likely to contact a radio station if they felt they would not receive a fair hearing.’
Reacting to the report, Lee held strong to his belief that he did nothing wrong in the interview.
Queer Country West Coast Debuts at El Rio in SF
Queer Country West Coast is pleased to announce their first show in San Francisco, featuring the sweet porch music and three-part harmony of The P’s & Q’s, prolific and hilarious songwriter Dillbilly in a new collaboration with Misisipi Mike, and Americana singer-songwriter Eli Conley and his band on Friday, February 26, 2016 at 8 pm. The show will be held at El Rio Bar, 3158 Mission Street, San Francisco. It is 21+ and there is no cover.
Since 2011, Brooklyn’s only gay-owned country western bar Branded Saloon has been home to a unique show called Queer Country Monthly. The series, which was conceived by songwriter Karen Pittelman, features LGBTQ country artists like My Gay Banjo and the Paisley Fields, and always includes a performance by hosts Karen & the Sorrows. The shows have helped build a warm community of queer country artists in New York.
In 2015, Berkeley-based alt-country musician Eli Conley played at the series and had such a wonderful time with the kindred spirits he found there that he pitched Karen the idea of hosting a sister show in California. Queer Country West Coast debuted at La Peña Cultural Center in Berkeley in June with performances by Eli’s trio Sugar in the Salt, San Francisco honky tonk band The Western Skyline, and country songwriter Shane Fairchild. The lesbian two-steppers and genderqueer old time fans in attendance all agreed that it was a resounding success.
Why queer country music? In their own words, “Because sometimes you love a culture that doesn’t love you back. We do it because we love the music and want to build a community to support queer country musicians. We do it because everybody needs a honky tonk angel to hold them tight. We do it because we believe in country music for all cowpeople.”
Please visit www.queercountry.net and www.eliconley.com for more information, including mp3s and videos.
Angela Morley: The Story Behind the Two-Time Oscar-Nominated Trans Composer
Oscar nominations always bring with them the added excitement of records broken and history made. And so, it was with much glee that many reported that Antony Hegarty, co-writer of the song “Manta Ray,” from documentary Racing Extinction, had become the first trans person to be nominated for an Academy Award — a distinction many were hoping would be accomplished by one of the delightful leads of this year’s breakout comedy Tangerine. Alas, further digging by Oscar aficionados proved that this wasn’t the case. In fact, composer Angela Morley (née Walter “Wally” Stott), had already broken that record. Back in 1974.
Morley received two Oscar nominations: her first for the score of Frederick Loewe and Alan Jay Lerner’s music for The Little Prince (1974) and the second a mere four years later for the Sherman brothers (of Mary Poppins fame) musical version of Cinderella, The Slipper and the Rose (1978). Lest we think her association with the Oscars was a thing of the past, she was actually responsible for the arrangements for the nominated score medleys performed by violinist Itzhak Perlman and cellist Yo Yo Ma at the 73rd Academy Awards. In case you need a reminder, that’s the year Gladiator took the big prize.
Having won two of her three Emmys for Julie Andrews specials — Julie Andrews in Concert (1987) and The Sound of Christmas (1990) — as well as having scored iconic series like Dallas, Dynasty, Wonder Woman, Cagney & Lacey and Falcon Crest, you’d think her name would be better known, at least within the LGBT community.
The Guardian’s obituary noted that Morley had suffered “a lifelong mental struggle with gender identity, a fact that, for all those years, he had kept sealed tightly inside himself.” Eventually, Morley underwent gender reassignment surgery in 1972, only two years after marrying her second wife, Christine Parker. It was through her that she’d been able to cross that “terrifying” gender border.
Growing up, Morley had always felt a kinship with music. At age 10 she learnt to play the violin. At age 11 the accordion. Later that year she’d take lessons for the clarinet and would eventually learn to play the saxophone. By the time Morley turned 20 in 1944, she joined the Geraldo Orchestra a gig that led her to becoming a composer (and a ‘ghost writer’) for many films and television shows in the UK before moving in the late 1970s to Los Angeles to work in Hollywood.
What many don’t know is the crucial role Morley played in the composition of one of the most iconic scores of all time: Star Wars. John Williams, who just picked up his 50th Oscar nomination for scoring J.J. Abrams’ latest foray into that galaxy far far away, often turned to Morley for help with his compositions and his score for the 1977 George Lucas classic was no exception. It’s a fact that’s been hiding in plain sight for years.
“Do you know the scene in Star Wars where Luke goes down into the Death Star trench and the voice says ‘Use the Force, Luke?'” Morley asked journalist Kenneth LaFave ahead of a 1997 concert appearance alongside Patti Lupone and Yo-Yo Ma, “That’s my orchestration.” Her work with Williams, which went largely uncredited, also included work on Superman, E.T., The Empire Strikes Back, The Right Stuff, Karate Kid and The Verdict. Her orchestrations and “source music” can also be heard in Schindler’s List and in Home Alone.
It’s perhaps fitting than in a year when Antony Hegarty nabbed a Best Original Song nomination and Eddie Redmayne and Alicia Vikander were recognized for their work on The Danish Girl we’ve been prompted to revisit Morley’s story and return her, perhaps, to the place in LGBT history she’d always earned.
LARA’s 9th OUTmusic Awards to be Online Presentation
The LGBT Academy of Recording Arts’ (LARA) 9th OUTmusic Awards were scheduled for production January 19, 2015, but the ceremony was postponed due to the fact that OUTmusic Inc., the 501c3 non-profit organization was the victim of a substantial financial fraud crime. Jan. 1, 2016, Diedra Meredith, CEO of OUTmusic Inc. posted an update addressing the nominees, members and supporters of the non-profit organization to explain as much as she could about what occurred:
“Unfortunately, we had to abruptly postpone our production of the 9th OUTmusic Awards due to the fact that our organization is the victim of Financial Fraud Crime which caused significant and astronomical damages we were not able to recover from as fast as we wanted to. Hence, we were not able to deliver the production of the 9th OUTmusic Awards months later as we were planning. I wanted to share this information with you sooner,
but because this was a crime against our organization, I was advised to not disclose any details to ensure the best possibility for justice to prevail in our favor. I have taken the necessary steps with the proper authorities and have been working with some generous business, media, and creative industry professionals who stepped up to offer their support in our endeavor to recover.”
The organization took much needed time to re-structure and re-organize in efforts to recover from the
devastating hit the organization has endured. Moving forward, the organization will post an online digital presentation to announce the winners of the 9th OUTmusic. Following the online presentation, the Academy will mail Nomination and Winner certificates to recipients.
The organization is in planning stages for the next live production of the OUTmusic Awards. The Academy plans to present a specially produced segment during the production of the 10th OUTmusic Awards to present the winners of the 9th OUTmusic Awards with their OMA trophies onstage.
The online digital presentation will be posted Sunday, Jan. 24, 2016 at 8 p.m. CST on
OUTmusicAwards.com. During the online presentation each category will be posted via our social media
pages on Facebook, Twitter and Instagram as each category is announced.
9TH OUTMUSIC AWARDS NOMINEES
ALBUM OF THE YEAR
Omar Thomas Large Ensemble – We Will Know
Tegan and Sara – Heartthrob _
Well-Strung – Well-Strung
Charice – Chapter 10
Karmen Buttler – Daze Of Love
BEST ALTERNATIVE SONG
Toya Delazy – Forbidden Fruit
Jess Godwin – Bleed
Sarah Donner – With Pride
Matt Fishel – Radio-Friendly Pop Song
Aris – Fallen Blind
BEST CD COVER ARTWORK
Omar Thomas Large Ensemble – We Will Know
Dan Paul – The Make Up
Charice – Chapter 10
Matt Fishel – Not Thinking Straight
Derek Nicoletto – Just Panic And Get It Over With
BEST CLASSICAL RECORDING/PERFORMANCE
Well-Strung – Since U Been Gone (Mozart Meets Kelly Clarkson)
Marc Peloquin – Gotham Glory
BEST DANCE/EDM SONG
Michael V. Doane – Looking For Love
Jason Walker Feat. Bimbo Jones – Tell It To My Heart
Jonte – Deja Vux
Sir Ari Gold – Play My F**kn Record
Reina – Forever
BEST FOLK/COUNTRY SONG
Antigone Rising – That Was The Whisky
Run Jenny – Get My Whisky On
Linq – Seneca Falls To Selma
Dan Paul – Painted Over Portraits
Karmen Buttler – Something Great
BEST GOSPEL/INSPIRATIONAL SONG
Gary Floyd – Music In The Meaning
Adrian Ross – Anything
Ray Isaac – Mother Mary Song
The Relationship – Come Bless The Lord With Me
Aris – Pray For Change
HUMANITARIAN SONGWRITER OF THE YEAR
Omar Thomas – Hymn
MRF feat. Lisa Bello, Justin Waithe, Sheree Dunwell – Be Strong (LGBT Youth)
Jen Foster – SHE
Ray Isaac – Who I Am
Majola Majola – Boet Sissy
BEST INTERNATIONAL SONG
Toya Delazy – Forbidden Fruit
Ember Swift – Laowai (Foreigner) 老外
Matt Fishel – Radio-Friendly Pop Song
Charice – Yakap
Suzanne Nuttall – Comme Un Trophée (French version of Trophy Wife)
BEST JAZZ/CABARET SONG
Omar Thomas – We Will Know
Miche Branden – Story Of My Life
Sean360x – AppleJack Ci’mon Dill’Sithe
NHOJJ – Our Love Is Here To Stay
BEST NEW AGE/INSTRUMENTAL SONG
D’Lance Jones – Forever With You
Mark Barnes – On This Day
Dan Paul – A Subtle Casting
Sean360x – UniaumSOUL
BEST POP SONG
Charice – Unexpected Love
Bec & Sebastian – Barricade
Tegan and Sara – I Was A Fool
Matt Fishel – Radio-Friendly Pop Song
Sir Ari Gold – Play My F**kn Record
BEST PRODUCER OF THE YEAR
Aris – Deaf, Dumb & Blind
Darren Orkert – Short Story Long
I.K.P. – Torch: Ignite It!
Matt Fishel and Mark Crew – Boxer Shorts & Razor Blades
Infinite – Infinite Various Artist Productions
BEST R&B/SOUL SONG
Reina Williams – Ooh Damn (Like Ooh)
Complete Love featuring Mikhial Douglas and True McG – Woman To Woman
D’Lance Jones – Forever With You
MRF – Be Strong (LGBT Youth)
Monifah – The Other Side
BEST RAP/HIP-HOP
Shorty Roc – Blue Flames
MRF feat. Lisa Bello, Justin Waithe, Sheree Dunwell, Shawn Caliber – Mob Music
I.K.P. – Settin’ the Record
Zebra Katz – Tear The House Up
Infinite feat. Sonny Lewis – New York
BEST ROCK SONG
Matt Fishel – Radio-Friendly Pop Song
Steve Grand – All American Boy
The Cliks – Savanna
Aris – Hallelujah
Derek Nicoletto – Hell in Gramercy
SINGLE OF THE YEAR
Toya Delazy – Forbidden Fruit
Tegan and Sara – I Was A Fool
Monifah – The Other Side
Jason Walker feat. Bimbo Jones – Tell It To My Heart
Sir Ari Gold – Play My F**kn Record
BEST SPOKEN WORD RECORDING OR LIVE PERFORMANCE
MRF feat. TJ Johnson, Cleveland P Jones – Tender
Kameltoe – Keep The Cycle Going
Poet On Watch – “Not On My Watch”
Aris – I Believe In Love featuring Paula Cole
Kalup Linzy – Love In My Imagination
VIDEO OF THE YEAR
Shangela Laquifa – Werqin’ Girl
Jess Godwin – Bleed
Antigone Rising – That Was The Whiskey
MRF feat. Lisa Bello, Justin Waithe, Yasko Kubota – Trying
Jen Foster – SHE
BEST SONG ON A SOUNDTRACK
Complete Love featuring Mikhial Douglas and True McG – Woman To Woman from the LGBT Film “Woman To Woman”
Rob Gokee – “Rebecca” from the Webseries Producing Juliet
Kalup Linzy – Katonya’s Commission
BEST COMEDY RECORDING OR LIVE PERFORMANCE
VonTanner – It’s Christmas Everyday (Comedy Audio)