George
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Post by George on Mar 7, 2014 15:57:44 GMT -5
Anyone know if she'll be shooting a video for "Water and a Flame" (even if it's only for UK markets)?
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Post by Deleted on Mar 7, 2014 18:29:06 GMT -5
Anyone know if she'll be shooting a video for "Water and a Flame" (even if it's only for UK markets)? Unlikely, considering they didn't even shoot something (worthwhile) for "Loved Me Back To Life."
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George
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Post by George on Mar 11, 2014 14:28:51 GMT -5
Celine Dion and Miss Piggy Could be Singing a Duet at Next Year’s OscarsMARCH 11, 2014 | 11:40AM PT The two divas collaborate on "Muppets Most Wanted" anthem Ramin Setoodeh, Film Editor, New York Celine Dion, the queen of movie soundtracks, has performed at the Oscars a record six times, including when she belted out the nominated ballads from 1991′s “Beauty and the Beast,” 1996′s “Up Close and Personal,” 1997′s “Titanic” and 1998′s “Quest for Camelot.” With some help from her new diva pal Miss Piggy, she could be back at next year’s ceremony singing another love song. Dion makes her big screen debut in Disney’s “Muppets Most Wanted,” appearing in a hilarious cameo during a pivotal, emotional scene in the film. Piggy needs guidance on the eve of her wedding to longtime boyfriend Kermit the Frog, and she turns to Dion for help, which comes in the form of a song they croon together called “Something So Right.” The tune was written by Bret McKenzie, who previously won the Academy Award for “Man or Muppet,” the 2011 anthem from the “Muppets” reboot starring Jason Segel. “Singing with Miss Piggy was a huge thrill for me,” Dion tells Variety. “With due respect to all the great singers out there, Miss Piggy may have the best voice in the world.” When asked about the new song’s Oscars odds, director James Bobin let out a laugh. “Imagine Piggy and Celine at the Oscars, that would be great,” Bobin says. “I’d love to see that.” Bobin noted that the song’s climax is backed by a “a great choir of Muppet characters, including Beaker and Rowlf the Dog. If you stage that in life, it would be hilarious.” “It’s a beautiful song,” adds Kermit the Frog. “It’s very sentimental.”
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johnm1120
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Post by johnm1120 on Mar 21, 2014 3:30:13 GMT -5
I just found this, but it looks like Rene's cancer returned. :(
Celine Dion's husband has been battling throat cancer.
The 'My Heart Will Go On' hitmaker has been supporting René Angélil, 72, after he underwent surgery on December 23 to have a tumour removed, and the couple are relieved the operation was "successful".
Celine's representative told E! News: "Putting to rest rumours that have been circulating these past few weeks, Rene Angelil's office confirmed today that he has been recovering at home in Las Vegas following surgery to remove a cancerous tumour from his throat on December 23rd.
"The procedure was successful and Mr. Angelil was released from hospital a few days following the surgery."
René - who has grown-up children Patrick, Jean-Pierre and Anne-Marie from his previous marriages, and René-Charles, 13, and twins Eddy and Nelson, three, with Celine - has taken a break from his career managing his 45-year-old spouse to focus on his recovery and relax with his family.
The representative added: "During his recovery, Mr. Angelil has decided to take a short hiatus from his normal work schedule, and concentrate on rebuilding his strength through proper rest and nutrition."
Celine - who has a residency in Las Vegas - issued a statement which added: "I don't want René to stress out with work-related issues. I want him to focus on getting back to 100 percent. I've been doing my shows at the Colosseum and everything's under control.
"At home we've been spending a lot of quality time with the family. We feel very fortunate that we've been able to get the best care possible and we thank God every day for helping us to get through this ordeal."
René previously battled throat cancer in 2001.
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divasummer
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Post by divasummer on Mar 24, 2014 21:55:22 GMT -5
Is this album done with promotion? What happened with her duet with NeYo???
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George
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Post by George on Mar 25, 2014 2:28:50 GMT -5
"Incredible" is currently being used in the "#PromNight" TV spots for ABC's "The Middle"!
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johnm1120
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Post by johnm1120 on Mar 29, 2014 12:37:22 GMT -5
There is a "Playlist: The Best of Celine Dion" listed on Amazon with a May 27th release.
Amazon is currently selling LMBTL $6.96.
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Post by Deleted on Mar 29, 2014 21:11:25 GMT -5
Juno nominee! Adult Contemporary Album of the Year In My Head - Alysha Brilla Loved Me Back To Life - Céline Dion Dream Catcher - Chloe Albert The Year He Drove Me Crazy - Corel Egan A Christmas Gift To You - Johnny Reid Johnny won.
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Kurt
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Post by Kurt on Apr 8, 2014 19:55:34 GMT -5
"Celle qui m'a tout appris" (from Sans Attendre) is next in France. :/
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George
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Post by George on Apr 9, 2014 16:13:52 GMT -5
Lovely cover.
I didn't know she was still promoting her French album?
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Post by Deleted on Apr 14, 2014 9:06:49 GMT -5
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Kurt
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Post by Kurt on Apr 23, 2014 14:00:06 GMT -5
Une seule fois tracklisting:
DISC 1 - CD 1 1. Ce n'était qu'un rêve 2. Dans un autre monde 3. Parler à mon père 4. It's All Coming Back to Me Now / The Power of Love 5. On ne change pas 6. Destin 7. Qui peut vivre sans amour? 8. Je crois toi 9. La mer et l'enfant 10. Celle qui m'a tout appris 11. Terre 12. J'irai où tu iras 13. Bozo 14. Je n'ai pas besoin d'amour 15. S'il suffisait d'aimer 16. L'amour existe encore DISC 2 - CD 2 1. All By Myself 2. Je sais pas 3. Je danse dans ma tête / Des mots qui sonnent / Incognito 4. Love Can Move Mountains / River Deep, Mountain High 5. My Heart Will Go On 6. Pour que tu m'aimes encore 7. Loved Me Back To Life 8. Le miracle BONUS TRACKS: 9. Tout l'or des hommes (Live de Bercy - Paris 2013) 10. Ziggy (Un garçon pas comme les autres) (Live de Bercy - Paris 2013) 11. Water And A Flame (Live de Bercy - Paris 2013) 12. Regarde-moi (Live de Bercy - Paris 2013) DISC 3 – DVD/Blu-ray 1. Ce n'était qu'un rêve 2. Dans un autre monde 3. Parler à mon père 4. It's All Coming Back to Me Now / The Power of Love 5. On ne change pas 6. Destin 7. Qui peut vivre sans amour? 8. Je crois toi 9. La mer et l'enfant 10. Celle qui m'a tout appris 11. Terre 12. J'irai où tu iras 13. Bozo 14. Je n'ai pas besoin d'amour 15. S'il suffisait d'aimer 16. L'amour existe encore 17. All by Myself 18. Je sais pas 19. Je danse dans ma tête / Des mots qui sonnent / Incognito 20. Love Can Move Mountains / River Deep Mountain High 21. My Heart Will Go On 22. Pour que tu m'aimes encore 23. Loved Me Back to Life 24. Le miracle
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Post by Deleted on Apr 23, 2014 14:05:43 GMT -5
The artwork is still terrible.
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Post by Deleted on May 6, 2014 13:29:53 GMT -5
"Celle qui m'a tout appris" (from Sans Attendre) is next in France. You can see the (live, dull) music video here.
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Luckie Starchild
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Post by Luckie Starchild on May 26, 2014 19:14:58 GMT -5
Hey Céline fans! I am wondering... what's the best way to get the Une seule fois CD/DVD set? Should I order it through amazon?
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Kurt
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Post by Kurt on May 26, 2014 19:20:05 GMT -5
Hey Céline fans! I am wondering... what's the best way to get the Une seule fois CD/DVD set? Should I order it through amazon? I haven't purchased it, but presuming they're shipping worldwide, the Céline Dion Boutique is probably a better idea, considering it's half as expensive as the Amazon import.
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Luckie Starchild
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Post by Luckie Starchild on May 26, 2014 19:24:45 GMT -5
^^ Merci beaucoup!
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Kurt
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Post by Kurt on Jun 2, 2014 10:42:37 GMT -5
lmaoooooo
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George
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Post by George on Jun 2, 2014 12:05:37 GMT -5
OMG. Seriously?! Can't wait though!
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George
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Post by George on Jun 2, 2014 12:47:22 GMT -5
People Who Like Céline Dion Are People, TooPosted by Ian Crouch You want to read a book-length critical essay about Céline Dion. You probably don’t know that you want to, or else you may even be sure that you don’t. But I think you are mistaken. Maybe you dismissed Céline Dion long ago, put off by her cheesy pop hits in the nineties, her theatrical voice, and her insistent arm movements. Maybe you just have bad memories of the song from “Titanic.” It could be that you have simply forgotten about her, as she is now ensconced in a lucrative and perpetual Las Vegas revue. And so taking time to read about Céline’s Quebec origins, her musical influences, and her astounding (or confounding) global appeal may seem like time curiously spent. But—and this is serious—reading Carl Wilson’s “Let’s Talk About Love” could make you a better person. It will make you more tolerant of other people’s musical preferences, more attuned to why they like what they like (and why you might not), more sympathetic to differences of opinion, and less grouchy about matters of taste. “Let’s Talk About Love” was first published by Continuum, in 2007, as part of a series of short books about a specific album or artist. Its original subtitle, “Journey to the End of Taste,” revealed that its ambitions extended beyond Céline, but its manner and appearance were unassuming. Over the next few years, it became a paradoxical thing, a totem of cool whose central argument poked holes in the idea of coolness. It got pressed on people by its admirers. The book has just been reissued by Bloomsbury, along with essays by other writers on the original text, and a new afterword by the author. But the meat of the book, Wilson’s meditation on his aversion, and other people’s love, for Céline, is essentially unchanged—and it is as invigorating and challenging, and ultimately moving, as I remembered it. It’s moving, in part, because Wilson puts himself on the line by carefully considering his own snobbery and pop-music pieties: he hated Céline, and so set off to write a book about her. Sentimentality is the chief complaint against Céline’s music, so it is a notion that Wilson resolves to investigate. The sentimental artist has been derided since the nineteenth century, as somehow both a rube and a cultural bad actor. “To be sentimental is to be kitsch, phony, exaggerated, manipulative, self-indulgent, hypocritical, cheap and clichéd. It is the art of religious dupes, conservative apologists and corporate stooges.” In its gaudy eagerness and exposed earnestness, sentimentality is, in effect, the opposite of cool. An appreciation of pop music, meanwhile, trades specifically in matters of coolness. Pop is social—a common idiom, readily accessible, relatable, and debatable. It is about crowds and groups, us and them. Pop is also, for many people, deeply personal: it is the realm in which many of us make and discuss our first artistic choices as young people, and those personal stakes often extend into adulthood. Wilson recalls his own formative experiences listening to music—punk, songs from the margins, what he calls “maverick art”—and cannot fathom how some other young person could reap similar emotional rewards from Céline’s slick, middle class, packaged soundtrack of hope. “It’s a fault endemic, I think, to us antireligionists who have turned for transcendent experience to art, and so we react to what our reflexes tell us is bad art as if it were a kind of blasphemy,” he writes. To these secular priests of art, Céline fans seem to have failed to make a coherent, or even a conscious, aesthetic choice. Instead they listen to her music for imprecise emotional reasons, or else passively opt for the merely popular, what is readily available. But, not surprisingly, Wilson finds that fans of Céline don’t see themselves as dupes or apologists or stooges. Wilson speaks to a young male fan who tells him that, during a period of depression, Céline’s “My Heart Will Go On” helped “draw me out of the darkness and into the light.” The very sentimentality of this phrase does not render it meaningless to the person who actually feels it. If this fan says that Céline saved his life, who is Wilson, or any one of us, to argue? Another fan attempts to explain her attachment: “Even if it’s not cool, even if it borders on the ridiculous in a lot of ways, and you can’t imagine why people would ever cry to a Céline Dion song, I think we should probably have more respect for people’s lack of guile…. I think it’s good to have things that you can’t explain.” At first, Wilson suspects that some of the differences between active niche listeners and middlebrow pop fans have to do with economics. He describes the work of the French sociologist Pierre Bourdieu, who, in the nineteen-sixties, surveyed thousands of people regarding their various cultural preferences. He found, broadly, that “poorer people were pragmatic about their tastes, describing them as entertaining, useful and accessible.” Wealthier people, meanwhile, “spoke in elaborate detail about how their tastes reflected their values and personalities.” But Céline’s fans aren’t necessarily poorer than other pop fans; Wilson cites a demographic study, commissioned by Céline’s label in the mid aughts, that showed a wide income distribution among her fans. The market of taste, then, may be determined not by money but by who puts greater value on another currency: so-called “cultural capital.” To illustrate this, Wilson asks us to think back to high school, when what kind of music we listened to seemed to be a matter of extreme importance. He writes: Critics and other avid and exacting pop fans, Wilson suggests, may be living out an extended version of anxious adolescence, in which social capital remains of principle importance, and managing one’s taste continues to be closely related to one’s identity. Wilson sets this kind of listener against another kind of pop consumer who may engage in a less fraught relationship with music. One of the joys of pop, he writes, is that it is a natural part of the cultural conversation: “We are curious about what everybody else is hearing, want to belong, want to have things in common to talk about.” Thinking of Céline’s fans, he grants that even sentimentality itself might have some positive social value. “Her songs are often about the struggle of sustaining an emotional reality, about fidelity, faith, bonding and survival,” he writes. The lyrical formula is cheerful, the sound is vaguely inspirational. “Don’t give up on your faith,” she sings, in one of her hits, “Love comes to those who believe it. And that’s the way it is.” Yet—and don’t tell this to Céline—love isn’t blind. Wilson goes to her show in Vegas, hoping to find some common ground. “Céline was gawky and funny and, compared to most of Vegas, human-scale,” he writes. They are both Canadian, and he muses that they could be uncool together. But then she performs a duet with a giant projected head of the late Frank Sinatra, and the spell of sympathy is broken. By the end of Wilson’s “experiment in taste,” as he calls it, his skepticism of Céline’s music remains strong. But it has become something different, a joyous skepticism, and also an example of good writing about art that is earnest, open, and even, at times, gentle. One of Wilson’s great strengths is his inclusiveness: he writes just as well about intellectual hierarchies and the deep-rooted feelings of insecurity and pride that many people have about their taste as he does about the non-intellectual pleasures of music. He ends by celebrating the various ways in which a person might love a song: for its datedness, its foreignness, its sense of place, its power to stimulate memory, even its very popularity, since a hit song is as much an event as something to listen to. “When all these varieties of love are allowed,” he writes, “taste can seem less like a bunch of high school cliques or a global conspiracy of privilege and more like a fantasy world in which we get to romance or at least fool around with many strangers.”
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Kurt
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Post by Kurt on Jun 2, 2014 20:25:01 GMT -5
^It's a good, thought-provoking book (at least for this full-time music enthusiast and casual writer/reviewer)! Finished it a couple months ago after the reissue first came out.
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Post by Deleted on Jun 2, 2014 20:58:17 GMT -5
Is video really ney cess e ry now? She is completely forgotten Especially with new album/ dvd now ...
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johnm1120
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Post by johnm1120 on Jun 2, 2014 21:59:05 GMT -5
OMG. Seriously?! Can't wait though! Where was this 4 months ago?
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Luckie Starchild
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Post by Luckie Starchild on Jun 2, 2014 22:04:30 GMT -5
Oh great, just in time for the Winter Olympics... am looking forward to the luge and curling finals...
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Luckie Starchild
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Post by Luckie Starchild on Jun 3, 2014 11:30:24 GMT -5
Hey Céline fans! I am wondering... what's the best way to get the Une seule fois CD/DVD set? Should I order it through amazon? I haven't purchased it, but presuming they're shipping worldwide, the Céline Dion Boutique is probably a better idea, considering it's half as expensive as the Amazon import. Just received my copy, thanks again!
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Post by Deleted on Jun 4, 2014 10:57:28 GMT -5
125. 125 days. 125 days between when they showed the "Incredibe" teaser and when they actually released the music video. It wasn't even worth the wait. If you have four extra minutes and absolutely nothing else to do, though, you can see the music video here. (... and the giraffe?!)
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George
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Post by George on Jun 9, 2014 14:42:27 GMT -5
Since Billboard's Hot 100 counts YouTube streams, and the video has now passed the 1 million views mark, anyone think it'll possibly chart on the next issue?
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Kurt
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Post by Kurt on Jun 11, 2014 0:27:16 GMT -5
Get that viral hit, Celine!
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Post by Deleted on Jun 11, 2014 1:03:08 GMT -5
Haven't listened to that song in a while, still as haunting as ever.
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johnm1120
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Post by johnm1120 on Jun 11, 2014 2:24:16 GMT -5
At this point, I think this is probably her best shot at hitting the Hot 100 this era. lol
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