Category Archives: article
Eric Charbonneau/Associated Press
Yes, that Hanson.
The three brothers, Zac, Taylor and Isaac, who make up the band have come a long way since their long-haired “MmmBop” days.
In fact, if you haven’t kept up with them since their late 90s Grammy-winning hit parade, then you’ve missed five studio albums and their evolution from teen heartthrobs to soulful rockers. In their more than two decades making music, Hanson has established a dedicated fan base, created a philanthropic organization called Take The Walk and started brewing their own beer, appropriately named “Mmmhops.”
In addition to playing Forbes’ music festival, the group will once again be involved with the Summit itself, though details have yet to be released. Last year, Taylor Hanson joined the Summit’s “Music Goes Moneyball” panel to discuss how data impacts the music industry.
As a group Hanson has experimented with using big data to book tours or pop-up gigs — anything to reach fans in unexpected ways. This strategy, which is in part thanks to the tumultuous late 90s music industry the band evolved in, kept them going strong when similar young acts faded out.
After all, the success of “MmmBop” and their 1997 album, “Middle of Nowhere” made Hanson very famous, very quickly. But their next big album, 2000’s “This Time Around,” was released during a major shakeup at their record label and, though it was critically well-received, wasn’t a commercial hit. For their next album Hanson separated from their label to create their own, 3CG Records.
“Being a part of a less stable music business, in a way, seeing lots of big changes and mergers, particularly in the first five to eight years of your career, certainly keeps you on your toes,” Zac Hanson, the youngest of the group at 29, told PhillyVoice. “The digital revolution of the 90s, going through digital files and MP3s and now Spotify, that’s definitely a major change. That’s like going to the moon as far as music is concerned.”
“We have people who are younger than ‘MmmBop’ that come to shows,” Zac said.
Thus, rather than change their sound for marketability’s sake, the band focuses on getting their music to the right people. For instance, this fall’s “Roots & Rock N Roll” tour is a fan-centered experience. Each stop will include two concerts: one where they play their favorite cover songs and one for original records. The first night’s afterparty features their brand of beer and a DJ set by Taylor.
“We’ve been a band just long enough that you have a second generation of people experiencing your music,” Zac said. “Maybe not a whole new generation, but it’s like their younger brothers or younger sisters. We have people who are younger than ‘MmmBop’ that come to shows and that’s cool. It creates a new reason to continue to do it because you realize you’re exposing new people to old music.”
Considering their early songs were written when Zac was as young as 11, it’s surprising how well the tunes hold up. Many would cringe at the idea of their teenage thoughts being sung aloud to an audience, but that’s essentially what Hanson does each night on stage. But then, writing songs that stand the test of time is part of Hanson’s songwriting philosophy. Their voices may have changed, but the vibe survives.
Of 1997’s “Lucy,” Zac said, “It’s pretty cool that you can still sing it. It has certain nostalgia and certain innocence about it, but you can still sing it as an almost 30-year-old and it still makes sense. That’s kind of the goal, to make music like we grew up listening to, where the songs are 30 years old before they get to you, but they’re still relevant.”
Of course, they’re working on new music too – not that Zac could spill any details just yet. They’ve also been carving out time to collaborate with other artists, like Blues Traveler and Owl City. And, though Zac said there’s no collaboration planned, fans did go wild when Hanson stepped in for Ed Sheeran’s opening act two nights in May. He did, however, confirm they love the Brit’s music.
“He’s just a monster. He’s so talented,” Zac said. “Watching him play, watching what he does with one guitar, that sets the bar higher.”
Despite being veterans with 20-plus years of performing under their belts, the Hanson brothers are at an age where others might be just finding success in the music industry. Thus, according to Zac, they won’t be slowing down anytime soon.
“I’m proud of what we’ve done. We’ve always made musical choices for the right reason. I can’t help but be excited about what we’re doing now,” he said. “I guess I’m still just too young to consider retirement. There is still that drive to go ‘I want to do that better, I think I am better, I think I can do better.'”
Vietbao (Translated using Google Translate)
Nhóm nhạc 3 anh em Hanson năm 1997 (trên) và 2003 thay đổi diện mạo một cách đáng kể.
3 brothers band Hanson in 1997 (above) and 2003 changed the face dramatically.
After five years of simultaneously entertaining teenagers and violating the eardrums of anyone over 25 in equal measure, One Direction has lost its way.
Zayn Malik jumped ship in March to live while he’s young, and The Sun newspaper reports the U.K. X Factor finalists will split in March 2016.
1D are far from being the first darlings of the adolescent teenybopper crowd to top the charts for a prolonged period of time despite their cheesy song lyrics and occasionally questionable musical talent.
From Rollermania in the 1970s to the lost Directioners in 2015, here are nine boy bands whose posters once adorned the walls of teenagers across the globe.
From: Oklahoma, U.S.
Members: Zac, Isaac and Taylor Hanson.
Years active: 1992 onwards.
Biggest hits: MMMBop (no. 1 U.S., Canada, U.K., and just about everywhere else), Where’s the Love (no. 27 U.S., no. 2 Canada, no. 4 U.K.), I Will Come to You (no. 9 U.S., no. 11 Canada, no. 5 U.K.).
Distinctive feature: That blond hair.
Worst ear-insulting tune: I Will Come to You.
Most cringe-worthy lyrics:
“Plant a seed, plant a flower, plant a rose. You can plant any one of those. Keep planting to find out which one grows. It’s a secret no one knows.”
Charity Concert in Partnership with Global Citizen to Be Held on Philadelphia’s Festival Pier on Tuesday, October 6
8,000 Tickets to Be Given Away Free to Those Who Take Actions to Help End Extreme Poverty
The headliners will also speak at the Forbes Under 30 Summit
NEW YORK (August 25, 2015) – Forbes announced today that Avicii, Lindsey Stirling and Hanson will headline the Forbes Under 30 Music festival on the evening of October 6, 2015 at Festival Pier at Penn’s Landing in Philadelphia. The festival will close the second annual Forbes Under 30 Summit, a three-day gathering of approximately 2,000 of America’s most influential and accomplished young entrepreneurs and game changers.
Forbes is producing the concert in partnership with Live Nation and The Global Poverty Project, the organization behind the annual Global Citizen Festival in New York’s Central Park.
“We’re excited to once again bring together an incredible line-up of talent in Philadelphia to close the Forbes Under 30 Summit,” said Randall Lane, Editor of Forbes magazine. “The Summit is all about results, and the Forbes Under 30 Music Festival will channel the talent of our headliners to drive the actions and awareness that will help end extreme poverty.”
“I can’t wait to play my new music from Stories for some of the most innovative and creative people in the world who will be at the Forbes Under 30 Summit this year,” said Avicii.
After Labor Day, 8,000 free tickets to the Forbes Under 30 Music Festival will be distributed to Philadelphia residents who register with Global Citizen to take action in the fight against extreme poverty. Beginning August 28th at 10am, a small number of VIP tickets will be sold via Live Nation/Ticketmaster at www.ticketmaster.com with all proceeds going to Global Citizen and to underwrite the direct costs of the Festival.
“Getting a new generation of global citizens engaged in ending extreme poverty is something we are really excited about. Last year’s Forbes Under 30 event was a huge success and we can’t wait to partner again this fall,” said Justine Lucas, Global Director of Programs, The Global Poverty Project.
The lineup for the Festival, which will run from 7 pm to 11 pm, is below:
- Hanson,the group of brothers that brought the world “Mmmbop” and embodies the 30 Under 30 ethos as well as anyone. Performing together for 23 years, Hanson has sold more than 16 million albums and launched its own 3CG Records, a charitable foundation focused on AIDS and poverty relief in Africa and even its own beer company, home to the award-winning Mmmhops Pale Ale.
- Lindsey Stirling, a 28-year-old electronic violinist whose use of big beats and animation has landed her over 6.8 million YouTube subscribers, over 1 billion views on her YouTube channel and sold out tours worldwide. Her most recent release, “Shatter Me,” debuted at No. 2 on Billboard’s album chart and has sold over 280,000 copies in the U.S. alone.
- Avicii, a Grammy nominated producer/DJ who ascended to the musical firmament with his genre-defying debut album, True. The record spawned the 4x-platinum guitar-laden stomper “Wake Me Up,” which hit No. 1 in 81 countries—and racked up 2.5 billion international streams while becoming the most streamed song of all time on Spotify. Avicii’s new album, Stories, is set for release later this year.
ABOUT THE FORBES UNDER 30 SUMMIT: Forbes’ Under 30 Summit, which will take place at the Pennsylvania Convention Center and other venues acrossPhiladelphia, will feature panels, TED-style presentations and a $1 million global contest for young social entrepreneurs.Speakers include: Theranos Founder Elizabeth Holmes, Musician Sara Bareilles, Co-founders of Genius Tom Lehman and Ilan Zechory, Ipsy’s Michelle Phan, Professional Boxer Mike Tyson, Half.com Founder Josh Kopelman, Global Health Corps Co-founder Barbara Bush, Founder and CEO of Box Aaron Levie, Founder and CEO of Imgur Alan Schaaf, Dr. Ruth, Co-Founder of the Malala Fund Shiza Shahid, Founder and CEO of Glossier Emily Weiss, fashion blogger for Style Rookie Tavi Gevinson, plus-sized model Ashley Graham, Investor Board Member for Venture for America Sarah Kunst, Co-Founder of Dannijo Danielle Snyder, CEO of Datto Austin McChord, Founder and CEO of Vênsette Lauren Remington Platt, venture capitalists Cameron and Tyler Winklevoss, the founders of Sphero (creators of the Star Wars BB-8 rolling “ball droid”), among many others.
Presenting sponsors for Forbes’ Under 30 Summit include AT&T and The Macallan Rare Cask; Partners include Baume & Mercier and the City of Philadelphia; Supporters include CAA, Mayo Clinic and TPG.
Eighteen years ago, a trio of teens from Tulsa shook up pop music with “MMMBop.” Sixteen-year-old Isaac, 14-year-old Taylor, and 11-year-old Zac Hanson wrote the song themselves, then hooked up with producers the Dust Brothers to create one of the catchiest pure pop songs of the decade.
“MMMBop” went all the way to No. 1 on Billboard in the summer of ’97. While some listeners wrote off the tune as mindless bubblegum pop music, rock critics quickly noticed that Hanson’s song had surprisingly deep lyrics about life. Those who could get past the fact that teenagers were dispensing valuable advice could find meaning in the song’s message.
“You have so many relationships in this life / Only one or two will last,” sang Taylor, dishing out wisdom like the second coming of Ann Landers. “So hold on to the ones who really care / In the end, they’ll be the only ones there / When you get old and start losing your hair / Can you tell me who will still care?”
Adding to the song’s cool appeal was the fact it had the seal of approval from the Dust Brothers, who had built up a buzz producing edgy alt-rock artists like Beck and the Beastie Boys. Their involvement gave the track instant credibility.
Recognizing the simplistic brilliance of the song, MTV, VH1, and Rolling Stone all lavished praise on “MMMBop.” The Grammy Awards nominated it for Record of the Year and invited the brothers to perform on the broadcast. Most notably, the song topped the annual Village Voice Pazz & Jop Music Critics Poll.
Last year, Zac tried to put the song’s success into perspective. He told Mashable, “’MMMBop’ was a phenomenon partly because it was a fresh and different sound at a time when people were listening to Soundgarden and Nirvana, and then all the sudden, ‘Oh, pop rock what is this? Motown influence? Is that the Jackson 5 white kid thing?’ And so it’s really like can you have that perfect storm of the cultural shift, your music falling at the right time, connecting with generations.”
Hanson would come to be lumped in with boy bands and girl groups like the Backstreet Boys, Spice Girls, and *N Sync, but that was never a fair comparison considering the Hanson boys wrote their own songs and played their own instruments.
All three brothers are now married with kids, and they’re still making music as Hanson. They’ve never recaptured the commercial success of “MMMBop”, though if there was any justice in the world, 2000’s “Wish That I Was There”, 2004’s “Get Up and Go”, and 2010’s “Thinking ‘Bout Something” would have been big hits as well. To this day, Hanson still perform “MMMBop”, albeit in a much lower key to suit their adult voices.
As for the legacy of “MMMBop”, the song endures, appearing in TV shows and commercials, and anyone who was alive during the summer of ’97 will remember the way that song took over pop culture.
Many boy bands have come and gone, but a lot of them left a mark on our hearts, our minds, the margins of our notebooks during study hall, and, of course, the VMAs.
From memorable performances to questionable red carpet attire, these pop groups have consistently stood out above the rest of their peers — though unfortunately, not always for the right reasons. I’m looking at you, Justin Timberlake’s turtleneck. And ramen curls.
Before the 2014 VMAs kick off on Sunday, let’s take a trip down memory lane with a look back at some of the best boy band moments in VMA history.
Hanson, 1998: Is there a more iconic visual of the year 1998 than Hanson presenting an award with Sarah Michelle Gellar?
Can You Watch The ‘Bye Felicia’ Scene From ‘Straight Outta Compton’ Online? The ‘Friday’ Nod Is One Of The Movie’s Best Moments
Bustle (hanson mention)
The N.W.A. origin film Straight Outta Compton did more than revive the era when the groundbreaking rap group was on top. It also took audiences back to 1995 when original N.W.A. member Ice Cube and comedian Chris Tucker spent one eventful Friday on screen. In fact, there are a lot of connections between the two films: Both were directed by F. Gary Gray; Ice Cube wrote the screenplay for Friday and executive produced his group’s biopic. But I’m talking about an incredible allusion in the newer movie’s script. Yes, Friday‘s most famous line, the incredible brush-off of “Bye, Felicia,” made it into Straight Outta Compton. If you weren’t among the huge audiences that helped the movie win the weekend’s box office, can you watch Straight Outta Compton‘s “Bye, Felicia’ scene online?
Unfortunately, not yet. The scene hasn’t been officially uploaded anywhere. But the reference, made by a young Ice Cube to a woman at a party, stirred up a ton of conversation online. Many wondered if the scene portrayed the moment the phrase actually came into being, but that theory has been shot down by Ice Cube himself. Reportedly, it was O’Shea Jackson, who plays his own father in the film, who improvised the line as a nod to his dad’s contribution to the canon of internet memes. And according to this interview with HitFix, Ice Cube doesn’t feel the line ever needs to make its way to the slang graveyard.
In fact, 2015 speech could use more of an infusion of slang from the ’90s. Here are seven more phrases from that great decade to jazz up your vocabulary. Why not try using one in a sentence today?
7. Dealer’s Choice
This is a Hanson wild card. Do with it what you will.
The ’90s have so much more to offer. But the cinematic return of “Bye, Felicia” is a terrific start.
A Review of Hanson’s “MMMBop” by Max Rubin
Though difficult to decipher through young Taylor Hanson’s reedy timbre, the lyrics that open “MMMBop,” the 1997 über-smash by Hanson, are a sobering quatrain: “You have so many relationships in this life/Only one or two will last/You go through all the pain and strife/Then you turn your back and they’re gone so fast.” That’s some cold truth for a twelve-year-old to thrown down. The song, which was released as the debut single off Hanson’s first full-length LP, Middle of Nowhere, and which rocketed the brothers to tweenage stardom, reads less like stratospherically successful bubblegum pop than it does a dirge.
In fact, “MMMBop” was intended in that latter vein. Before superstar production team The Dust Brothers came in and saturated the song with kitsch, “MMMBop” was initially recorded as a much slower, more somber track. Hanson self-released a demo in 1996 that features the original, lesser-known incarnation of the song. On that version, there are no cowbells, no spangling fun-in-the-sun organs, no vapid turntable scratches. Taylor’s vocals come in soft and slightly mournful. The hooks are still there, but the whole thing is just a bit sadder, more appropriately reflective of the lyrical tone.
Thus is the dichotomy at the heart of “MMMBop.” On the one hand, The Dust Brothers were imperative to the song’s success. They whipped it out of the register of rangy garage tune and into Billboard shape, roughly the way Hollywood might take on an aspiring character actor, sand off his edge, and tease him up into a rom-com leading man. The Dust Brothers built into the song an irresistible effervescence, dolling it with shimmer and making it pop. They also upped the tempo to a snappier pace. The lyrical phrasing of “MMMBop” is crowded to begin with, and with Taylor—whose voice on the record is still tightly coiled in pre-pubescence—now forced to keep up with the increased BPM, the vocals are rendered unintelligible, reduced to a stream of melodic froth. Thus “MMMBop” loses its pensive essence. This all makes for more palatable pop, to be sure, but it’s also the other hand of the “MMMBop” dichotomy: The Dust Brothers’ treatment obscures the soul of the song.
Hanson gets pigeonholed as a one-hit novelty act because they rose to fame as a boy-band-of-brothers with long blond hair and a song title that wasn’t even a real word. But, as a noun, MMMBop is not arbitrary tween gibberish. It’s actually onomatopoeia. And rather inspired onomatopoeia at that. As defined by the band, an MMMBop is a span of time that’s gone before you know it. It refers to something in which you are so intensely involved that you can’t understand the scope of it until it’s disappeared. The band applies the term to life’s many fleeting relationships, singing, “In an MMMBop they’re gone.” It is a commentary on the human perception of the passage of time. And, as a sound, the word captures its meaning brilliantly—the fleeting nature of measured time, humming along for a brief moment—mmm…—and then, while you were still registering it: bop!… it’s gone.
This lyricism is the product of a kind of uninhibited playfulness that a more experienced songwriter could never conjure. Isaac, the oldest of the brothers Hanson, was a mere fourteen-years-old when they wrote the song, meaning the boys hadn’t yet lived long enough to become seasoned songwriters. The adage goes that good writers know the rules so well that they can properly break them. “MMMBop” is the result of the opposite: writers who don’t know the rules and yet somehow get them right.
Which is to say that “MMMBop” is, in essence, a piece of very impressive middle school poetry. It’s not particularly sophisticated stuff, but it avoids all the main pratfalls of the genre—clumsy metaphor, unfilled meter, weepy sentimentality. Hanson even subverts the technique of flowery imagery, utilizing it with coy literalness: “Plant a seed, plant a flower, plant a rose / You can plant any one of those / Keep planting to find out which one grows / It’s a secret no one knows.” Winking as it is, this stanza is the philosophy at the core of “MMMBop”—that relationships require cultivation before their true worth can be assessed. It’s a bold claim for the band to make, for it confronts one of the reigning convictions of American pop-culture: the mushy predisposition toward love at first sight. The Hanson boys, prematurely world-weary, are not so naïve. In call and response, they ask, “Can you tell me which flower’s going to grow?” answering back with, “You say you can, but you don’t know.” In other words, “Bullshit.” We are not so prescient a people. The band might as well be reciting divorce statistics.
No, most of our relationships will not last. Our efforts may mostly be futile and unpredictable. In response to such truths, it may be tempting to embrace defeatism and lethargy. But Hanson suggests we act otherwise. It is our duty, the brothers posit, to keep cultivating nonetheless, to “keep planting to find out which one grows.” “MMMBop,” ultimately, is a song that advocates resilience in the face of overwhelming odds, of persistent, methodical, meticulous application as the only means by which to transcend our fickle nature.
This isn’t typical Top 40 fare, to be sure. Of course, were any of it discernible in the vocals, “MMMBop” would never have achieved its chart-topping station. Instead it sounds like blather—light, airy, undemanding: all ideal elements for teeny-bopping. But locked in there is a more substantial, mature song, and one that, in the end, suggests its own trajectory, along with that of every other one-hit wonder. At the time, its presence felt inescapable and eternal. And then it was gone, suddenly, in a goddam, shimmering MMMBop.
Dominated by tributes hits “I’ll Be Missing You” and “Candle in the Wind,” 1997 was the year that Puffy and Elton moved us to tears.
In 1997, the deaths of Notorious B.I.G. and Princess Diana left America looking for musical catharsis. On The Gist, our regular guest Chris Molanphy explores how tribute songs came to dominate the Billboard chart from 1997, with a sprinkling of a few memorable candy-colored Pop songs.
Our Spotify playlist will help un-break your hearts with some Toni Braxton, Elton John, and other songs mentioned in today’s show:
Until the end of this month we get every day a summer hit the dust away. Today: MMMBop Hanson
Ten years old I was, and I found the agility of my kinderheupjes during washing at scout camp. We climbed all together on the table, giggly girls in old T-shirts of our fathers, rags should protect our bathing suits from the paint battle that morning – now that was nevertheless explicitly mentioned in the packing list that our leaders for the camp sent out. From a radio–cassette player echoed MMMBop, the summer hit of that time, like ten minutes earlier had blown dust from the corners of the parish hall of Nederoverkuttegem. I was Zac (I was always Zac) and on the rickety tables, soaked with soapy water and teenage enthusiasm, others Zac and Taylor were about to give the best of themselves. Nobody ever chose “Die Old“, if only because no one knew his name.
Nobody knew neither the text, let alone the meaning of the song, although this did not lie to our poor knowledge of English. The nineties harbored excellent popparels, tunes which served as accomplished teachers of English which our parents refused to correct when we merrily skipped down the hallway while we claimed that we were honey.
However MMMBop is a song that had more potential than a catchy chorus and some very young, long-haired soul mates with whom we sometimes wanted to hold hands. (Again: That Old did not count) Who will take the text there after a number of “what the fuck?! ‘S understand that the verses of MMMBop did think about what is really worthwhile in life that things exist as fleeting friendships and relationships but that in difficult periods’ll find out who really is on your side.
Not a bad message for a bunch of primary school-goers who have the horror of secondary still ahead, methinks.
Although the song in more than 27 countries stood at No. 1, it was nominated for a Grammy and Rolling Stone Magazine has included it in their Best Of 1997 list, the MMMMBop has lots of opponents, especially by the “childish text” and “ridiculous optimistic “tune. Little did they know that the song was originally sung as a ballad, and only after intervention by producer duo The Dust Brothers (Beck, The Beastie Boys) are received huppelige character.
Because the Hanson Brothers offered a nice counterbalance to the violence of Notorious BIG and (then) Puff Daddy who dominated the charts at the same time, radio stations ran the hit gray. White even. At one time everyone was so tired song that opening riff alone for years a Pavlovian oorbedekreflex losweekte.
So used the Delone Catholic High School in Pennsylvania MMMBop for money fundraiser for victims of Hurricane Katrina in 2005. The school played the song every morning and between each lesson to a certain amount has been collected. Coarse perhaps, but in the meantime the brothers realized that this song would be their greatest legacy – despite efforts to new albums and set up his own brewery. The Hansons doubled even the money that was collected during this “Stop The Bop” campaign and gave each student from the school a copy of their latest album ‘Underneath‘. Sporty.
As the child star perishes, or rather just not the Hansons have now grown up with wife, child and probably also just white picket fence around their front yard. Let this information especially for too long and you act like the Hanson Brothers and their cheerful gebeebop as postcard to more simple times. While we’re not busy did to us about our weight while table dancing, times when it all okay was the girl in love with a boy who looked like a girl – or maybe we would have even a guy who looks like a girl . Times when our only concern was a litany of our parents when it turned out that we were still managed to spill paint on our bathing suits.
Goooooooooo Summer Fans! (Yeaheaheah!)