Céline Dion's Let's Talk About Love: A Journey to the End of by Carl Wilson

By Carl Wilson

Non-fans regard Céline Dion as ersatz and plastic, but to those that love her, nobody should be extra actual, together with her impoverished early life, 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 dedicated tune fanatics taking excitement (or no less than geeky solace) of their lofty contempt. This booklet records Carl Wilson's courageous and unheard of year-long quest to discover his internal Céline Dion fan, and explores how we outline ourselves within the gentle of what we name reliable and undesirable, what we like and what we hate.

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Extra resources for Céline Dion's Let's Talk About Love: A Journey to the End of Taste (33 1/3 Series)

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Quebec’s confidence had grown: it was now willing not only to bare its trashy underbelly, but to give it a big, wet kiss. And Céline’s casting as Môman was a nod to the contribution of the skinny little hick who had conquered the globe. But it wasn’t all symbolism. She also elevated herself musically. *** If you have never heard Céline Dion in French, it’s hard to believe it’s the same singer. Her cadences are much more supple and controlled, her interpretations more detailed. Gone is the blank persona that reduces many of her English songs to vocal stunt work, replaced by what can only be called soul.

Years later she would break down in tears on Quebec TV over her early media treatment. How did she shake off the stigma? By stages. Céline was in a long line of Quebec child stars such as 70s sensations René and Natalie Simard, whose TV variety show was the province’s version of Donny and Marie Osmond. But these ingénues seldom achieved adult careers. Angélil realized Céline would have to make a clean break. In an eighteen-month hiatus in the mid-80s, she got her teeth capped, took singing lessons and developed a new repertoire.

Eurovision traffics almost exclusively in major-key, upbeat tunes, limited to three minutes and burdened with somehow simultaneously representing the competing nations’ souls and eschewing any hint of chauvinism. Though it began with performers wearing local costume and singing in their native tongues, an “international language” requirement was added in later years by the TV networks that administer it, to make it more commercially viable, so English and French songs predominate. If you’ve ever seen Italian variety TV, with its blowsy hostesses and pompadoured hosts, you have the general aesthetic.

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