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It's up against Sam Smith's Golden ...

www.columbian.com [cached]

It's up against Sam Smith's Golden Globe-winning Bond theme "Writing's on the Wall," David Lang's "Simple Song 3," "Til It Happens to You" by Diane Warren and Lady Gaga, and "Manta Ray" by J. Ralph and Antony and the Johnsons' Antony Hegarty.

As Antony and the ...

dmlblog.com [cached]

As Antony and the Johnsons lead singer, Antony Hegarty, won't be contributing his vocals to the collective's latest album, it will inevitably sound different, and I am thus all the more excited to give the album a listen. Check out "My House" and European tour dates below:

Antony And The Johnsons Another ...

www.guardian.co.uk [cached]

Antony And The Johnsons Another World--Wildwave remix

Antony and the Johnsons are a Mercury Prize-winning music act from New York City, New York, United States. The band is fronted by Antony (real name Antony Hegarty) who was born in 1971 and identifies as a transgender person. During the mid 90s Antony started solo; after originally producing songs with Blacklips Performance Cult and other late-night cabarets he had a number of songs to work with. In 1995 he assembled a backing group-the self-styled Antony and the Johnsons-and began to focus on the musical side of his performances. The group built up a cult following at hip New York clubs such as the Kitchen and Knitting Factory. Antony then received a NYFA for "performance art/emergent forms" which he used to record the Johnsons' debut album "Blue Angel", that remained unreleased until Current 93 leader David Tibet signed Antony and the Johnsons to his Durtro label.
Further recordings by Antony and the Johnsons emerged in the early years of the new millennium, including "I Fell in Love with a Dead Boy" and a shared EP "Live at St. Olave's" with Current 93, recorded live at Saint Olave's Church in London, England.
Reed then recruited Antony for his album The Raven for guest vocals and took her on tour in 2003 which meant that Antony appeared on Lou's live album Animal Serenade.
With the band now attracting wider attention, Antony and the Johnsons signed to US based label Secretly Canadian.
The Horror Has Gone seems to be Antony expressing the end of a depressing phase in his life, a positive lyrical change from his debut style. In February 2005 Antony and the Johnsons released their second full length, I Am A Bird Now.
It went on to receive great critical acclaim in the UK and won Antony the Technics Mercury Music Prize for 2005. In 2006 Antony appeared in the Leonard Cohen tribute concert and subsquent film "I'm Your Man." His perfromance of "If It Be Your Will" is perhaps the highlight of the film. The 5-song Another World EP was released on October 7, 2008. As promised, it shows a mixture of continuation of earlier songs' atmosphere as well as more experimental work. Antony and the Johnsons' third album, "The Crying Light", was released on January 19, 2009. This was followed by "Swanlights" in October, 2010. Both of these latter albums are less melodic and more experimental in nature the Antony's earler work and have met with critical acclaim yet little commercial success. http://www.antonyandthejohnsons.com/ User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.
Latest on Antony and the Johnsons Antony Hegarty
Antony Hegarty: 'We need more oestrogen-based thinking'
As Antony Hegarty prepares to curate this year's Meltdown event in London, he tells Tim Adams about the artists who have had the greatest influence on his life and career - and why 'future feminism' will make the world a better place
Listen to an Antony Meltdown 2012 playlist on Spotify
The Southbank Centre in London has curated this playlist on Spotify to mark the Meltdown 2012 festival in August, curated by Antony of Antony and the Johnsons
Antony Hegarty to curate Meltdown 2012 Antony and the Johnsons singer to explore spirituality, the environment and gender politics at annual music festival
This Unthanks album is a thoughtful, delicate and bravely original tribute to two fine contemporary artists - Robert Wyatt and Antony Hegarty, writes Robin Denselow
The Unthanks' folk interpretations of the canons of Antony Hegarty and Robert Wyatt prove a surprisingly good fit, writes Neil Spencer
Antony Hegarty
Singer Antony Hegarty to perform at Radio City Hall with 60-piece symphony orchestra. And lasers …
1. Antony Hegarty: 'We need more oestrogen-based thinking'
Antony Hegarty: 'We need more oestrogen-based thinking'

The broken-hearted people living in the ...

www.magnetmagazine.com [cached]

The broken-hearted people living in the world agree: Antony And The Johnsons have become a profound voice of hope and sorrow. A story of divine tragedy, avant-garde androgyny and plenty of soul.

Antony Hegarty and I can't even think of anything to do. After a quiet brunch, we shake off some of the lethargy and finally decide on a real plan of action: We're going shopping for socks. Or maybe we'll go to the pet store and stare at the caged puppies. But Antony needs black crew socks for an upcoming tour, so we begin trudging toward the fluorescent lights of Old Navy when we happen upon an outdoor flea market.
Antony thinks this would make a nice gift for his friend, neo-folk guru Devendra Banhart.
Across the Atlantic, some would rather have seen Antony wrapped in the Union Jack. In September, Antony won the Mercury Music Prize, an annual award given to a British or Irish artist whose album is deemed the best of the year. This caused a minor shitstorm for several reasons, foremost among them that 34-year-old Antony Hegarty, though born in Chichester, Sussex, hasn't actually lived in England since he was 10. He has dual citizenship in Britain and the United States, but his undisputed home and creative base is New York City.
The issue of Antony's nationality was compounded by his beneath-the-underdog status. You have to understand that the Mercury is the sort of thing that British pop fans lay wagers on, and the field of nominees for the £20,000 (roughly $35,000) prize included more popular-and more acclaimed-acts such as Coldplay, M.I.A., the Kaiser Chiefs and Bloc Party. London newspaper The Guardian can almost be forgiven, then, for running the salacious headline, "Former choirboy turned cross-dresser scoops Mercury prize from favourites."
At a press conference after the awards show, Antony expressed appropriate feelings of surprise and bewilderment with, it should be noted, a very English wit: "It's kind of like a crazy contest between an orange and a spaceship and a potted plant and a spoon-which one do you like better?"
When reminded of his comment, Antony says, "It's the truth about that award. The award itself is an afterthought, really. Except that it's a lucrative afterthought. But the British press couldn't pass up the opportunity to incite the natives, quoting Kaiser Chiefs drummer Nick Hodgson as saying, "He's an American, really. It's a good album, but it's daft he got in on a technicality."
Antony insists that he was the victim of a slow news day, an unwitting accomplice in the case of an American stealing the crown jewels. "It was mostly fabricated by the media," he says. "As far as the other artists-all the bullshit about M.I.A., the Kaiser Chiefs-that was fake. They all sent me e-mails: 'Just for the record, Antony ... ' The Kaiser Chiefs came up to me and were like, 'Can we be the spaceship?' Those boys are so nice.
There's some notoriety involved with the statuette, which Antony describes as "a fossilized foot of a pterodactyl sticking out of a pile of lava, clutching a crystal ball. After the ceremony, he pondered whether he should toss the vaunted prize into the River Thames and make a wish. Currently, 2005's Mercury resides under a pile of laundry in Antony's Chelsea-that's Chelsea in downtown Manhattan, not Chelsea in southwest London-apartment.
Earlier this year, BBC's Radio One alerted Antony to a song request the station had received via e-mail from the South Pole. A researcher in an isolated arctic laboratory had heard "Hope There's Someone," the opening track from Antony And The Johnsons' second album, I Am A Bird Now, and was so touched by the song he felt the need to write. A few months later, Antony discovered that Johnsons bassist Jeff Langston has a sister who's been using "Hope There's Someone" as part of a workshop she conducts for soul-seeking Christian women.
"We're talking about a group of 2,000 Christian-fundamentalist women," says Antony. "Who would have ever fathomed that song could have an application like that?"
It isn't such a stretch; the song opens with a lyric that cuts to the heart of everybody's deepest, most human, most lying-awake-at-night-trembling fear. And not a single word is wasted: "Hope there's someone who'll take care of me when I die," sings Antony.
His soulful vibrato almost sounds motherly. He sounds like a woman: a full-grown woman, not necessarily like anyone you might hear on the radio today.
Lou Reed has said that hearing Antony had the same effect on him as hearing Elvis Presley for the first time.
Devendra Banhart tells MAGNET that Antony "is the greatest living voice of this era. (Banhart, not the sort of person who's content paying an unoriginal compliment, goes on to declare Antony "was immaculately conceived, he's the Virgin Mary, he is made of the ocean and is friends with velvet dolphins.")
Though some of Antony's famous admirers-Reed, Banhart, Boy George and Rufus Wainwright-appear as guest vocalists on I Am A Bird Now, the album is the sole domain of its author. The persona behind songs such as "For Today I Am A Bouy" and "Bird Gerhl" is, appropriately or not, an issue: Antony is a man who sings like a woman about wanting to be a girl. Or that's the simplified version; and even then, it's kind of confusing. Antony says he prefers to be called transgender, which roughly means he identifies as a woman. However, he doesn't necessarily present himself as a female in daily life or alter his body through surgery or hormone treatments.
"I prefer [the transgender] label to 'gay,'" says Antony.
"I wrote that song about my (biological) sister," says Antony. "Bringing George in, it became layered with all this other meaning related more to my community experience. But then it's just sort of opened and opened and opened."
But what does it mean when so many people-gay and straight, good Christian women, Mercury Prize judges, South Pole scientists-connect with an album that plumbs the depths of a transnational, transgendered soul?
"I can't really take that on," says Antony. "My goal in writing songs is to try to create things that are open enough that people can find a relationship to them. That's been the exciting part: realizing that people from all these different countries and walks of life can find some part of my creative experience to relate to. Even now, when things seem so dire, it's our nature to go toward something that's hopeful."
When Antony talks about his childhood in the '70s and '80s, his English accent wakes up. He pronounces the decades daintily, with an extra-hard T: "seven-ties," "aay-ties.
Accustomed to singing in school and Catholic church, Antony found his American classmates oddly timid and unenthusiastic.
"In England, the value placed on pop music was such that every kid wanted to be a pop singer, boy or girl," he says. "All the boys were starting bands in school. When we got to America, all the kids were ashamed of the idea of singing. All the girls sang in these pathetic, breathy little voices in church and the boys didn't sing at all."
The Hegartys disapproved of American television and did not own a set; Antony kept abreast of pop idols such as Boy George and Soft Cell's Marc Almond by subscribing to English teen magazines Smash Hits and Number One.
Though the decade isn't known for its frank, open dialogues on sexuality, the femininity and gender ambiguity of many of these '80s musicians were apparent to young Antony. When the topic turns to his own sexual awakening, Antony is rather terse: "My childhood was ... a colorful period. Yeah, I would say difficult. But difficult is a bit boring. I would say vibrant. It was hardcore."
Antony offers that "junior high is the most terrifying place in the world," but then again, most of America probably shares that opinion. Attending a high school for the performing arts in San Jose, Antony was surrounded by friends who he says were stranger and more adventurous than the people he'd later meet in the avant-garde nightclubs, galleries and bars in New York City. When he does speak of certain difficulties and growing pains, it's usually expressed as concern for others.
"When parents have a daughter who is masculine or a son who is feminine, they should look at that as a gift," he says. "It's something that should be cherished. Why is it that, in society, these people-who are often times the most sensitive-are cast away?"
As a student at UC Santa Cruz, Antony began writing, directing, producing and starring in musical plays. One of his first efforts was a John Waters-influenced melodrama called Sylvie And Meg. A more original production, staged a few years later in New York City, was titled Cripple And The Starfish. It's set on a styrofoam island at the end of the world, after the land has been washed away by the greenhouse floods. At this point in the far future, humans have evolved into robotic beings, and the plot concerns the only two people left alive

Hercules and Love Affair: New Music, Greatest Hits & Videos by Hercules and Love Affair — 514blog.com

514blog.com [cached]

From 2007 through 2010, members included Nomi Ruiz, Kim Ann Foxman and guest singer Antony Hegarty from the band Antony and the Johnsons.

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