By Carl Wilson
Non-fans regard Céline Dion as ersatz and plastic, but to those that love her, not anyone may be extra genuine, along with her impoverished formative years, her (creepy) manager-husband's fight with melanoma, her knack for howling out uncooked emotion. There's not anything cool approximately Céline Dion, and not anything smart. That's a part of her charm as an item of affection or hatred — with so much critics and devoted song lovers taking excitement (or no less than geeky solace) of their lofty contempt. This booklet files Carl Wilson's courageous and extraordinary year-long quest to discover his internal Céline Dion fan, and explores how we outline ourselves within the mild of what we name solid and undesirable, what we like and what we hate.
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Additional resources for Céline Dion's Let's Talk About Love: A Journey to the End of Taste (33 1/3 Series)
More striking are the anecdotal accounts you’ll get from any returning traveler from the developing world, or in a search linking her name with the country of your choice. ” . . As I struggled to answer my friend’s question, I suddenly remembered one misconception I’d encountered often enough to suspect a sort of mass hysteria had settled over the whole country. ” . . Out of the whole catalog of American, Canadian and British music, the Chinese seem to enjoy primarily four artists: Dion, Mariah Carey, Elton John and Kenny G.
Eurovision was made for Céline and she for it. She was the bookies’ favorite from the start. But her world-beating doesn’t stop at her status as arguably the world’s most-successful talent-show act. She emulated the likes of Whitney Houston by making sure that she had a Hollywood tie-in with each of her 90s English albums: in 1992 it was the title song, with Peabo Bryson, on Beauty and the Beast; to boost 1993’s The Color of My Love she sang “When I Fall in Love” on the soundtrack of Sleepless in Seattle; for Falling into You, it was Up Close and Personal; and of course Titanic for Let’s Talk About Love (though only by a whisker: James Cameron had to be talked into having a theme song, and Céline initially hated “My Heart Will Go On”).
According to a Japanese Sony rep Yasuda interviewed, A. Miyai, early in Céline’s career the company decided “no Hollywoodish artist would be possible anymore, apart from the existing ones, such as Michael Jackson”; global markets now demanded another approach. Sony put out a call for ideas to all its offices. In France, it led to Céline’s work with Jean-Jacques Goldman. In Japan, where domestic music dominated seventy percent of the market, “The almost unprecedented promotion strategy . . ” In 1995 Céline and producer David Foster met the producers of a romantic soap on Fuji TV to create a theme song and “To Love You More,” backed by local Sony act Kryzler and Kompany, became the first No.