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[Chantemoi]

 

 

Incredible performance.

 

Right?! I don’t think I’d ever seen that performance- had you? Skimming thru, at first I thought it was playback, but it’s definitely live!

[smw]

https://www.instagram.com/reel/Cu0nWvFvceV/?igshid=MzRlODBiNWFlZA==

[cdurand54]

https://www.youtube.com/watch?v=yp3t2_Xx1WQ

 

https://www.youtube.com/watch?v=cbUfCmsXBNo

Edited July 18, 2023 at 10:01 AM by cdurand54

[marc-02]

[smw]

 

This video has over 100 million views. The Taking Chances tour has proven to be one of Celine’s most viewed concerts since it was filmed and officially released.

 

I used to not appreciate it as much because she wasn’t in perfect vocal shape — and a lot of us used to have such a high bar for Celine. But I appreciate it much more now. It captures Celine’s stage presence so beautifully. And I’m glad so many people get to see how great Celine is as a performer.

 

As more time passes, these videos prove to be even more special.

 

Edited July 24, 2023 at 11:29 PM by smw

[smw]

^ Also, go read the comments on that hits medley video. So much love and admiration for her — she really is considered by many to be one of the best singers of all time AND such a kind, loving person.

[MaiconSC]

[smw]

Grateful Celine recorded a song with the legendary Tony Bennett. This was one of my favorite albums in 2006!

 

Edited July 25, 2023 at 03:05 PM by smw

[ryba]

 

This video has over 100 million views. The Taking Chances tour has proven to be one of Celine’s most viewed concerts since it was filmed and officially released.

 

I used to not appreciate it as much because she wasn’t in perfect vocal shape — and a lot of us used to have such a high bar for Celine. But I appreciate it much more now. It captures Celine’s stage presence so beautifully. And I’m glad so many people get to see how great Celine is as a performer.

 

As more time passes, these videos prove to be even more special.

The only thing I don’t understand is why they made the effort to dubb the whole DVD before release, but they still went with really bad vocals on ABM. She doesn’t sound good there at all.

[DCCeline]

The only thing I don’t understand is why they made the effort to dubb the whole DVD before release, but they still went with really bad vocals on ABM. She doesn’t sound good there at all.

 

I think youre being a bit too critical as people clearly think it sounds good based off the youtube comments.

 

That being said I dont listen to any ABM post Millienium concert because her 2000s vocals make the song sound flat and I dont want to hear a lipped ANNYMOOOO...

 

The one youtube video they upload that has me scratching my head is that live MHWGO (live 1999-2000) they uploaded 6 months ago. Why did they use that vocal take when they could have just used an incredible 1997-1999 take.

[smw]

https://youtu.be/afRHXWWdEak

 

The way the classic Celine logo sparkles on the screens in the background is a treat!

[smw]

 

7.2 million views! Such an iconic opening.

[ryba]

https://youtu.be/afRHXWWdEak

 

The way the classic Celine logo sparkles on the screens in the background is a treat!

I love this logo!

[smw]

https://www.instagram.com/reel/CvMMDz1JTuj/?igshid=MzRlODBiNWFlZA==

 

Great little clip with Peabo.

Edited July 27, 2023 at 02:31 PM by smw

[ryba]

https://youtu.be/dNCO7C4Lxxw

 

I like how they show her the ONCP digipack here and she looks at it and enjoys it

Edited July 29, 2023 at 09:56 AM by ryba

[ryba]

 

What do you guys think about this interview now after so many years? Celine was very emotional and for the first time voiced her personal political opinion. I never understood why people were making fun of the "take a kayak" phrase. What's so funny about that?

[PuraVida]

https://youtu.be/QXD4BGvPngM

 

What do you guys think about this interview now after so many years? Celine was very emotional and for the first time voiced her personal political opinion. I never understood why people were making fun of the "take a kayak" phrase. What's so funny about that?

 

I think it's one of Celine's finest moments. She showed the world her heart and her generosity of spirit.

 

Of course, the "take a kayak" thing is seen as a kind of a camp Celine-ism as years have gone on and there's more distance from the tragedy...but some people were being horrible in their reaction to her on this show. The same type who lacked compassion for the (mostly POC) population affected by the disaster in the first place.

[Zofia]

Yes, it's a Céline highlight, despite the mockery. The self-righteous would probably be ecstatic at such a stance from a star if it weren't for her - a "silly French-Canadian", the classic object of scorn in English-speaking North American culture. I was delighted when I read Carl Wilson's analysis, which explained Céline's behavior by reference to Quebec culture:

 

“…every second was quintessentially québécois: the pro-American but anti-Washington stance, the class consciousness (what other white pop star would not only excuse but advocate poor blacks ransacking retail stores?) and the intense identification with New Orleans, which Quebec sees as both a cautionary tale of language loss and a distant-cousin outpost of joie de vivre in stiff-necked North America. She shrugged off the million bucks as the least a happy entrepreneur could do, and sang when called upon like the dutiful national daughter ever ready to put her gifts into service.

 

Because most viewers couldn’t see the link between the nègres blancs of Quebec and the creole blacks of New Orleans, Céline’s state seemed out of all proportion. But in that light it was as culturally sound as rapper Kanye West’s televised outburst the next week that “George Bush doesn’t care about black people.”

 

However, when I read the second edition of Wilson's book, enriched by an appendix of essays by various authors, I was even more delighted by Mary Gaitskill's commentary, which admirably deconstructs Wilson's reasoning. Allow me to quote two fragments (with apologies for their length):

 

“Then came the pages on which Wilson informs the reader that the most “widely mocked minutes of Céline Dion’s career” occurred when she had the vulgarity to get all emotional about the victims of Hurricane Katrina on Larry King, crying even, and doing that arm-movement thing like some kind of spaz. For me, anyway, that’s when the book became about something more than Céline Dion, pop music or tastes. Wilson uses the Larry King incident to segue into a description of Dion’s québécois cultural roots which, he says, explain why she “fails most non-fans’ authenticity tests” and why “her personal touchstones are off the map,” because Quebec’s idiosyncratic pop culture and Francophone sense of oppression is “a null set in the popular imagination.” Wilson can “prove” why Dion’s passionate defense of poor New Orleanians who “looted” busted-up stores was as “culturally sound” as Kanye West’s speech the following week, and Dion’s personal and cultural background makes a good read. But. While there have always been and always will be stunted creatures who make fun of people for showing emotion that said creatures are uncomfortable with, why does a plainly sophisticated, generous and intelligent critic need to marshal lengthy cultural analysis to explain to his equally sophisticated cohort why a person might get emotional and even cry at the sight of her fellows wretchedly suffering day after day after day? Really, you have to explain why that is “culturally sound”? I didn’t ask these questions the first time I read the book because I got so involved in Wilson’s parsing of the “signifiers,” “referents” and “touchstones” that make up the horrible baroque language of modern criticism, a layering upon layering of poses, assumptions, interpretations and second-guesses trip-wired to catch the uncool. The importance of cool in this culture is something that Wilson spends a great deal of time on, and is depressingly convincing about. What he’s describing is a world of illusory shared experiences, ready-made identities, manipulation and masks so dense and omnipresent that in this world, an actual human face is ludicrous or “crazy”; a world in which authenticity is jealously held sacrosanct and yet is often unwelcome or simply unrecognizable when it appears.

(…)

Her appearance on Larry King (…) did make an impression; it struck me as absolutely sincere and sane. That thousands would actually spend time watching this interview so they could jeer at it, jeering especially that Dion (a singer!) had the nerve to sing a song after her speech, seemed not merely cynical but neurotically detached from reality: Dion’s response wasn’t only moral, it showed a sort of biologically based empathy that understands the physical vulnerability of humans in the world. Newsflash: real humans are connected with each other whether they like it or not. They are awkward and dumb and wave their arms around if they get upset enough; real humans all have personal touchstones that are “off the map” because there is no map. We are so maplessly, ridiculously uncool that whole cultures and subcultures, whole personalities even, have been built to hide our ridiculousness from ourselves. These structures are sometimes very elegant and a lot of fun, and fun to talk about, too. But our ridiculous vulnerability is perhaps the most authentic thing about us, and we scorn it at our peril – yet scorn it we do.”

 

“A world in which authenticity is jealously held sacrosanct and yet is often unwelcome or simply unrecognizable when it appears”: such a fine summary of the critics' contempt for Céline!

[PuraVida]

Yes that was one of Carl Wilson's more interesting and insightful moments.

[TiagoFragoso05]

 

https://youtu.be/zKkw6H7q1ko

 

 

Enviado do meu iPhone usando Tapatalk

[Abodi2002]

River Deep never sounded better than that Letterman performance.

[Dancing_Queen]

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Edited July 31, 2023 at 08:58 PM by Dancing_Queen

[mirage]

Yup, that one was sooo good

Her voice, the music they were on fire.

 

River Deep never sounded better than that Letterman performance.

[mirage]

I miss her.

 

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[PuraVida]

River Deep never sounded better than that Letterman performance.

 

I love her energy there, and it was great...but for me, I don't find it the mind-blowing vocal performance that some others do. And iirc, the audio mix was off -- her background singers were too loud. Nitpicky me lol.

[DCCeline]

For me the RDMH on lettermen is so great because

1. Its less nasally and more powerful then the other performances.

 

2. She actually sings the full "heaven KKNOOOOOOWWWWWSSS" and "as it GROOOOWWWWS" All the other performance she sings it differently/gets lazy and breaks the note and says "here we go" including the album versions.

[Peppercorn1991]

For me the RDMH on lettermen is so great because

1. Its less nasally and more powerful then the other performances.

 

2. She actually sings the full "heaven KKNOOOOOOWWWWWSSS" and "as it GROOOOWWWWS" All the other performance she sings it differently/gets lazy and breaks the note and says "here we go" including the album versions.

 

Is it lazy or just her own style?

 

Kev x

[DCCeline]

 

 

Is it lazy or just her own style?

 

Kev x

 

Well, that's why I said differently/lazy. I don't know why she started doing that, but I just personally find it not as catchy

[Abodi2002]

 

 

Well, that's why I said differently/lazy. I don't know why she started doing that, but I just personally find it not as catchy

honestly the best performance after Letterman would have to be Birmingham in 1995 for me. The lazy and whiny 1996 and 1997 performances don’t compare. Then 2007 and early 2008 performances were great, heady “and it gets higher” EB5 aside, then in May 2008 she stopped sustaining the “would I cry” part.

[MaiconSC]

https://www.youtube.com/watch?v=vy-cUdTJAmQ

 

WOW I think this is rare!

She's singing Carmen in Spain - 1992

Edited August 3, 2023 at 01:58 AM by MaiconSC