Lady Gaga, The Weeknd, Sam Smith és Dave Grohl az Oscar-gálán
Az idei Oscar-gálán a legjobb filmzene díját Ennio Morricone nyerte Quentin Tarantino westernjéért (Aljas nyolcas), és a Sam Smith-féle nyálas James Bond-főcímdal lett a legjobb filmbetétdal, de ez utóbbi kategóriában kifejezetten méltatlan volt, hogy a transznemű énekes Anohni (Antony Hegarty) nem adhatta elő élőben Manta Ray című jelölt számát (és megalázottságában el sem ment a díjátadóra). Lady Gaga és The Weeknd viszont ott volt és fellépett – sőt a jelölteken kívül még Dave Grohl is, egy Beatles-feldolgozással az elmúlt egy év elhunyt filmeseinek emlékére.
Lady Gagát a főiskolai és egyetemi campusok világában történt nemi erőszakok áldozatairól szóló The Hunting Ground dokumentumfilm betétdaláért, a dalszerző Diane Warrennel közösen jegyzett Til It Happens To You-ért jelölték, melynek zongorás Oscar-előadása a végére egy impozáns tömegjelenetté nőtt:
— Hollywood Reporter (@THR) February 29, 2016
Sam Smith a 007 Spectre – A Fantom visszatér című James Bond film Oscar-díjat nyerő főcímdalával, a Writing’s On The Wall-lal:
az Oscar-díjak történetének első transznemű jelöltje, Antony Hegarty (tavaly felvett új művésznevén: Anohni) az alábbi hosszú Facebook-üzenetben írta le, hogy mivel nem kapott lehetőséget Oscar-jelölt dalának élő előadására, ezért a díjátadóra sem megy el:
WHY I AM NOT ATTENDING THE ACADEMY AWARDS
by Anohni, Oscar Nominee for best song (“Manta Ray” with composer J. Ralph)
I am the only transgendered performer ever to have been nominated for an Academy Award, and for that I thank the artists who nominated me. (There was a trans songwriter nominee named Angela Morley in the early 70’s who did some great work behind the scenes.) I was in Asia when I found out the news. I rushed home to prepare something, in case the music nominees would be asked to perform. Everyone was calling with excited congratulations. A week later, Sam Smith, Lady Gaga and the Weekend were rolled out as the evening’s entertainment with more performers “soon to be announced”. Confused, I sat and waited. Would someone be in touch? But as time bore on I heard nothing. I was besieged with people asking me if I was going to perform.
My anxiety increased as weeks passed. I slowly realized that the positive implication of this nomination was being retracted. The producers seemed to have decided to stage performances only by the singers who were deemed commercially viable. Composer David Lang’s song “Simple Song #3” performed by South Korean soprano Sumi Jo was also omitted.
It was degrading to watch the articles in Variety, The Daily Telegraph, Pitchfork, Stereogum, etc. start to appear. Eclipsing earlier notices of congratulations, now the papers were naming me as one of two artists to have been “cut” by the Academy due to “time constraints”. In the next sentence it was announced that Dave Grohl, not nominated in any category, had been added to the list of performers.
Everyone told me that I still ought to attend, that a walk down the red carpet would still be “good for my career”.
Last night I tried to force myself to get on the plane to fly to LA for all the nominee events, but the feelings of embarrassment and anger knocked me back, and I couldn’t get on the plane. I imagined how it would feel for me to sit amongst all those Hollywood stars, some of the brave ones approaching me with sad faces and condolences. There I was, feeling a sting of shame that reminded me of America’s earliest affirmations of my inadequacy as a transperson. I turned around at the airport and went back home.
As if to rub salt into the wound, the next morning the Oscars added that I was transgendered to the trivia page of their website.
I want to be clear — I know that I wasn’t excluded from the performance directly because I am transgendered. I was not invited to perform because I am relatively unknown in the U.S., singing a song about ecocide, and that might not sell advertising space. It is not me that is picking the performers for the night, and I know that I don’t have an automatic right to be asked.
But if you trace the trail of breadcrumbs, the deeper truth of it is impossible to ignore. Like global warming, it is not one isolated event, but a series of events that occur over years to create a system that has sought to undermine me, at first as a feminine child, and later as an androgynous transwoman. It is a system of social oppression and diminished opportunities for transpeople that has been employed by capitalism in the US to crush our dreams and our collective spirit.
I was told during my 20s and 30s there was no chance that someone like me could have a career in music, and this perspective was reiterated by so many industry “professionals” and media outlets that I lost count. I almost gave up. Thankfully, fellow artists like Lou Reed advocated for me so intensely that I got a foothold despite the worst intentions of others. In that sense, I am one of the luckiest people in the world.
I enjoy that wild and reckless exhilaration that comes from naming my truth as best as I can; it is what Nina Simone might have called a “boon”. The truth is that I was not groomed for stardom and watered down for your enjoyment. As a transgendered artist, I have always occupied a place outside of the mainstream. I have gladly paid a price for speaking my truth in the face of loathing and idiocy.
At the age of 35 I was awarded the UK’s Mercury Prize. All the nominees were invited to perform that night. They lifted me from obscurity and celebrated me, setting off a chain of events that changed my life forever.
Now ten years later, I have sung for millions of people in some of the most beautiful theaters in the world, from the London Opera House to a tiny shed full of Aboriginal women elders in the Western Australian desert. I have accomplished so many of my dreams. I have collaborated with musicians and artists whom I deeply respect. I have held space for feminism, eco-consciousness, and trans advocacy for 2 decades. I have been afforded a platform to participate in the cultural conversation.
I brought my earnings from around the world home to New York City and paid my taxes. That money was spent by the U.S. government on Guantanamo Bay, drone bombs, surveillance, capital punishment, prisons for whistleblowers, corporate subsidies and bank bailouts.
In the United States it is all about money: those who have it and those who don’t. Identity politics are often used as a smokescreen to distract us from this viral culture of wealth extraction. When we are not extracting wealth from nature, we are extracting it from the working and middle classes.
So I have decided not to attend the Academy Awards this election year. I will not be lulled into submission with a few more well manufactured, feel-good ballads and a bit of good old fashioned T. and A. They are going to try to convince us that they have our best interests at heart by waving flags for identity politics and fake moral issues. But don’t forget that many of these celebrities are the trophies of billionaire corporations whose only intention it is to manipulate you into giving them your consent and the last of your money. They have been paid to do a little tap dance to occupy you while Rome burns. These are the last days of a great American fake-out sponsored by Exxon Mobile, Walmart, Amazon, Google and Phillip Morris. America, a country that is no longer contained by physical borders, aspires only for more power and control. I want to maximize my usefulness and advocate for the preservation of biodiversity and the pursuit of human decency within my sphere of influence.
A fenti Antony-dalhoz hasonlóan nem hangozhatott el élőben a gálán a Simple Songs #3 című David Lang-kompozíció sem, amit az Ifjúság című filmben a koreai operaszoprán Cso Szumi énekel – álljon hát itt eredeti stúdióverziójában:
Dave Grohl mostanában mindenhol ott van – két hete például a Lionel Richie-gálaesten énekelt, egy elő-Grammy-partin a régi Nirvana-társakkal és Beckkel adott elő egy David Bowie-feldolgozást, a Grammy-díjátadón felkonferált egy Lemmy–tribute produkciót, sőt műsoron kívül dzsemmelt a Preservation Hall Jazz Band zenészeivel – és most az Oscar-gálára is meghívták, hogy a filmvilág elmúlt egy évének nagy halottai előtt tisztelgő összeállítás aláfestéseként játssza el akusztikus gitáron a Blackbird című 1968-as Beatles-dalt, melyet Paul McCartney a korabeli amerikai fekete polgárjogi mozgalmak ihletésében írt:
Végezetül még egy zenei vonatkozású hír az idei Oscar-gáláról: a legjobb dokumentumfilm díját egy zenei témájú film, az Amy – Az Amy Winehouse-sztori nyerte.