After decades in the industry, singer Darren Hayes knows a thing or two about how how important an artist’s vision is. That understanding has him speaking out against a recent posthumous production of former gay contemporary, George Michael.
Sony recently released a new video for Michael’s song “Fastlove”, compiled from outtakes and behind the scenes clips from the filming of the original. These clips included set-ups for shots that weren’t in the original, incomplete dance moves, and plenty of clapboards.
The full BTS video went up earlier this month:
Related: Darren Hayes talks gay shame, his days in Savage Garden, and his new solo album ‘Homosexual’
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This weekend, the former Savage Garden vocalist took to Twitter to protest the video.
Hayes argued that there’s a reason these outtakes were, well, taken out:
I’m positive George Michael would be mortified by the ‘outtakes’ version of the ‘Fastlove’ video Sony just released. He was so particular about his image and especially how he was photographed. It bothers me how corporations stop respecting artist wishes when they pass. Cont.
— Darren Hayes (@darrenhayes) October 16, 2022
“There’s a reason why footage is left on a cutting room floor or demos are left unreleased,” he continued. “If an artist didn’t release something in their lifetime it’s safe to assume it was intentional.
“I think it’s a real violation of the artistic process to dig up unfinished or unreleased material without a living artist’s express consent.”
Responses ranged from commenters criticizing Sony for the move to bringing up other such instances. Some cited the posthumous self-titled Michael Jackson album, the recently unearthed Queen song, or the recent David Bowie NFTs as what they view as artistic exploitation.
Related: Darren Hayes’ recent Pride post was too gay for Instagram
This dispute joins a larger discussion around artists’ legacies that’s been going on for years. In cases like Whitney Houston’s hologram being used for performances or the recent, highly-criticized Marilyn Monroe biopic Blonde, a thin line between tribute and misappropriation sometimes seems crossed.
Along with the new video of cutting room floor material, the label released a “Making of the Video” short with commentary by the creators of the original video.
Neoprene
Loved George. Not his music. That he was a multimillionaire into public cruising. A true man of the people!
Yeah, yeah. I know, he was a celebrity closet case. That just made the cruising even bolder.
bachy
The Fastlove video blew me away when I first saw it. The collaboration with masterful videographers Vaughan Arnell and Anthea Benton captured and delivered George’s louche, stylish, sexy persona like no other.
I appreciate Hayes’ position regarding respect for the artist’s control of their vision, but as a fan I must confess I am absolutely thrilled to see these outtakes. That speaker chair alone should be displayed in a museum. Fastlove – both the song and the video – remains among the most iconic artworks of the 90s.
trell
I’m with D.H on this one.
George Michael was another big celeb/media victim, who initially hid from the press, then took everything that anyone threw at him and knocked it back with a IDGAF attitude, and even a bit of humour. (Outside video, anyone?)
OK, he made mistakes, he was living in a time where (in the UK) clause 28 was prevalent, and being gay was intrinsically linked with AIDS. Hell, even Elton John denied he was gay when he was initially outed by The Sun.
But this isn’t about George Michael, the man. This is about George Michael, the cash cow and marketable commodity. We’ve seen this countless times. Cobble together a few demos or unreleased material , and get an album out in time for christmas. Repackage the same old stuff with a new spin, a few new photos, and call it the ‘Ultimate’ edition. Etc. etc. etc.
I still think he was an amazing talent, and love his music, but I don’t need the nostalgia push