Knigge was born in Hamburg, Germany. He began his career initially as a textile businessman and fashion designer. In 1974, he received a record contract with Hans Bertram, who rechristened him "Tony Holiday". His first two singles met with little success. Holiday's breakthrough came in 1977 with the German recording of "Tanze Samba mit Mir" ("Dance the Samba With Me") in 1977. The song quickly became a hit in both Germany and Austria, peaking at No.4 on the German music charts and reaching the Top 20 on the Austrian music charts. In 1979, he participated with the title "Zuviel Tequila, zuviel schöne Mädchen" ("Too Much Tequila, Too Many Beautiful Girls") in the German finals for the Eurovision Song Contest and the song finished in ninth place.
Between 1975 and 1984, Holiday would perform eleven times on the popular German music television program ZDF-Hitparade.
In 1980, Holiday scored a second European hit with "Nie mehr allein sein" which reached the number 15 on the German music charts. The song was a reworking of "Sun of Jamaica" by the German band Goombay Dance Band. Holiday subsequently hosted several music programs on television and released several more singles throughout the 1980s.
Holiday died on Valentine's Day, 1990 of AIDS in his native Hamburg at the age 38, just ten days shy of his 39th birthday.
In 2000, Tony Holiday's single "Tanze Samba mit Mir" was prominently featured in the Teddy Award-winning François Ozon directed film Gouttes d'eau sur pierres brûlantes (Water Drops on Burning Rocks), an adaptation of the play Tropfen auf heisse Steine by German filmmaker and dramatist Rainer Werner Fassbinder.
Beyond Shame: Reclaiming the Abandoned History of Radical Gay Sexuality by Patrick Moore
Paperback: 264 pages
Publisher: Beacon Press (January 14, 2004)
Amazon: Beyond Shame: Reclaiming the Abandoned History of Radical Gay Sexuality
The radical sexuality of gay American men in the 1970s is often seen as a shameful period of excess that led to the AIDS crisis. Beyond Shame claims that when the gay community divorced itself from this allegedly tainted legacy, the tragic result was an intergenerational disconnect because the original participants were unable to pass on a sense of pride and identity to younger generations. Indeed, one reason for the current rise in HIV, Moore argues, is precisely due to this destructive occurrence, which increased the willingness of younger gay men to engage in unsafe sex.
Lifting the'veil of AIDS,' Moore recasts the gay male sexual culture of the 1970s as both groundbreaking and creative-provocatively comparing extreme sex to art. He presents a powerful yet nuanced snapshot of a maligned, forgotten era. Moore rescues gay America's past, present, and future from a disturbing spiral of destruction and AIDS-related shame, illustrating why it's critical for the gay community to reclaim the decade.
More LGBT History at my website: www.elisarolle.com/, My Ramblings/Gay Classics
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