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RAVE IN THE BASEMENT:
Well, Hanson's gone and released the first video to accompany the
first single off This Time Around. Making the Video represents a bit of
trailblazing on Hanson's part. They seldom let us see them so unscripted, and
even more seldom are we given glimpses of their "process."
Trivialities
The Locale
Gorgeous. The stained-glass ceiling in the ballroom alone made the hotel Hanson-worthy. Throw in the gold lion and the red leather seats
from the lobby and you've got yourself some serious opulence, and that's without the benefit of Taylor Hanson's face.
The only mistake they made was in telling Taylor that it was Art Deco. It's Victorian, but who's going to argue with the boy in the red wifebeater? Certainly not me.
The Concept
Secret party in the basement of an old hotel. Not bad. Maybe not great for a song about oppression and the question of freedom or death, but still not horrible. Things started to
get sketchy on all fronts however when they threw in a gaggle of trendoid supermodels wielding glow sticks.
I hate to break it to David Meyers, but this is not the Where's the Love video. The performance parts work. The party parts, the rat part, the girl-smooches-guy-in-spooky-basement part, don't.
It all boils down to a rather odd, disjointed experience. Here's Isaac singing "Put on these chains and you can live a free life" as a girl screeches in fear at our rodent friend. Say what? What happened to Gus Van Sant and
symbolism and surrealism and different planes of reality? One giant leap for Hansonkind. Backward into the putrid gutter of brainless teeniedom.
The Redeeming Values
Talk about the nicest collection of Hanson eye candy ever paraded before our eyes.
The close-ups of Taylor's face at the beginning of the video are almost shockingly beautiful, and that's thanks to his face, and not to
any nifty camera work.
Cut the Tension With a Knife
Well well well. Looks as though some people aren't too happy with Hanson flexing their creative muscle on their own video shoot. God forbid they take an active role in the creation of their art rather than just do what Nsync does- show up for a briefing and nod when the director tells them where to stand, what sportscar to jump into and which supermodel to smooch. David Meyers was clearly unhappy with Taylor's criticism of the "Zac finds the drums" scene. And he stayed unhappy. For the rest of the shoot. For us however, it was quite possibly the most thrilling scene of the show. Forget about the fact that Taylor used the world "disingenuous." Correctly. Forget that he was exacting and forceful and knew exactly what was cool and what was "cheesy," to use his words. In one sentence that began with "I hate to burst your bubble," Taylor put up a brick wall between Hanson and every other boyband in existence. And he did it in front of the camera. Meyers seemed more than uncomfortable, ("This doesn't go on the camera.") at being told what was what by a 16 year-old. Also not to be underestimated here is the fact that Taylor Hanson looks the way he looks.
When David Meyers walked on that set, he probably thought he was dealing with a dim-witted pretty boy, the male equivalent of Britney "too dumb to know that I'm being exploited" Spears.
People, in general, don't like to have their worlds challenged like that. And for We the People of the Ecstatic Peanut Gallery, it was a Hanson moment for the ages.
Bottom Line
Performance parts: Good. Party parts: Bad. Eye candy: Spectacular. Final Verdict: So, I wonder if Gus Van Sant will be available any time soon |