American Music Awards 2015: Celine Dion Pays Tribute to Paris

23 Nov 2015 | Author: | No comments yet »

Celine Dion Delivers Touching Paris Tribute at 2015 AMAs.

As a tribute to the victims of last week’s terrorist attacks in Paris, Dion performed “Hymne à L’Amour,” a song that was originally written by Édith Piaf to memorialize her lover, French boxer Marcel Cerdan, who died in a plane crash in 1949. “We felt it was important to show our solidarity in light of the recent events in Paris and all around the world,” AMA producer Larry Klein said in a statement earlier this week. “Celine’s performance will help us express our feelings through song, when words do not suffice.” In his introduction of Dion’s performance, actor and musician Jared Leto recalled the concert that his band, 30 Seconds to Mars, played at the Bataclan theater just a few months before nearly 100 people were gunned down there on November 13 during an Eagles of Death Metal show. “Tonight, we honor the victims of the unimaginable violence that has taken place in Paris and around the world,” Leto said. “France matters, Russia matters, Syria matters, Mali matters, the Middle East matters, the United States matters.Celine Dion had the entire audience at the American Music Awards in tears Sunday night during her tribute to those who died during the Paris terrorist attacks.”I want to just thank you, the fans, for allowing me to change and have a different voice every time I come back out (with a new album),” Minaj said at the Microsoft Theater in Los Angeles. “And please find your voice and find your purpose before it’s too late.

The entire world matters, and peace is possible.” In reference to the loud opposition to the admittance of Syrian refugees currently fomenting on the right, Leto noted that many artists in the audience are the children of immigrants, along with Steve Jobs, whose father immigrated from Syria, and President Barack Obama, whose father was from Kenya. Love you.” Minaj is up for the night’s top award, artist of the year, against Luke Bryan, Ariana Grande, One Direction and Taylor Swift, who didn’t attend the awards show because she’s out of the country shooting a music video. “Wow. The French-Canadian singer delivered a breathtaking rendition of Edith Piaf’s “Hymne A L’amour” amid beautiful images of the City of Light and many of Paris’ landmarks. Zendaya and Hailee Steinfeld danced excited as Selena Gomez performed onstage; Fifth Harmony and Rebel Wilson sang as Demi Lovato was in strong form with “Confident”; and Gomez sang as Grande performed “Focus” in a shimmery number.

The singers made out onstage after singing their song, “Marvin Gaye,” which features the lyrics: “Let’s Marvin Gaye and get it on.” Host Jennifer Lopez kicked off the AMAs in a dance routine that highlighted some of the year’s biggest hits like “Where Are U Now,” ”Anaconda,” ”Uptown Funk!” and “Hotline Bling.” She also impressively sang in almost a cappella form. Everything on TV last week retroactively fell under the shadow of what happened in Paris on Friday, which made the weekend shows feel like either a welcome escape or an act of mass commiseration. Bieber, who also is set to perform, already has room to celebrate: Billboard announced Sunday his new album, “Purpose,” will debut at No. 1 on its charts Monday after selling 649,000 equivalent albums.

Last Week Tonight With John Oliver kicked off with the host addressing the terrorists with, “Fuck these assholes.” Saturday Night Live — coming back strong from last week’s Trump debacle — served up both remembrance and relief, with a touching bilingual nod to France. Oddly — or appropriately — this was actually a good week for small-screen escapism, thanks to kick-ass action from a pair of effects-heavy adventure shows, some long overdue comedy from a beloved duo, and a strange trip into the thoughts of an eccentric movie star. Show creators’ return to sketch comedy. (Seriously, thank you, Netflix.) Comedians don’t get participation medals, however, and the duo’s new show, W/Bob and David, wouldn’t have been so welcome if the old gang weren’t still funny. Yes, not every single gag lands in the series’ too-brief four-episode run, but when the troupe hits on a good idea — a “no-nonsense” TV judge replaced by one who tolerates some nonsense; an anti-police harassment activist encountering a friendly cop — they perform the bit with the precision timing of an atomic clock.

Show career serves him well here, with his richer acting experience bringing more depth to sketches like the one where his “bad cop” is sensitive over what his “good cop” partner says about him to crooks. And in one of the best new sketches, the local news reports on the death of a previously unknown member of the Beatles, as a philosophical man-on-the-street wonders, “If you had an invisible third arm that was paralyzed, would you miss it?” The pairing of Odenkirk and Cross is like that metaphorical third arm. Set in 1979, at a time when the Gipper was on the campaign trail, this week’s episode — “The Gift of the Magi” — brought him to southwest Minnesota, where he delivered a stump speech so heartfelt that it choked up the local anti-government cynic Karl Weathers (played by Nick Offerman). On some other shows, Campbell might’ve been asked to do a broad, cartoonish Ronnie; here, he’s so convincingly sincere that even lifelong Democrats may wish they could go back in time and vote for him. Fargo’s second season has been telling an intricate story about the waning days of the 1970s, musing about how hippies and down-home crime families alike were steamrolled by the promises of big-time capitalism.

The show’s also been exploring the freaky side of this particular time in American history, evoking the prog-rock, UFOs, and macrame fringes of the Me Decade — all by way of explaining how a former Hollywood actor became a viable presidential candidate. Who better then than the physically sturdy, unnervingly square Campbell to play a man who pledged to lead the country into a future meant to reflect our imaginary past? TV fight sequences have become more kinetic and visceral over the past few years — we’re looking at you, Daredevil and Strike Back — but rarely have top-quality punch-outs and slice-ups been as much of a selling-point as they are in AMC’s new postapocalyptic martial arts extravaganza.

The show has a capable lead in American-born Chinese movie star Daniel Wu, and features a suitably out-there premise, about a not-so-distant future controlled by ruthless “barons” and their sword-wielding “clippers.” But while there’s not much here that should disappoint (or, frankly, surprise) genre fans, there’s a reason why each commercial break during the series premiere was preceded by a teaser for the next round of bloodletting. That’s because the most important name in the Into the Badlands credits doesn’t belong to Wu, or even creators Alfred Gough and Miles Millar, but to fight choreographer Ku Huen Chiu, who’s previously worked on Crouching Tiger, Hidden Dragon and the Kill Bill films.

HBO gave us Going Clear, Tales of the Grim Sleeper, How to Dance in Ohio, and Kurt Cobain: Montage of Heck, while Showtime has come through with Mormon bigamist exposé Prophet’s Prey, and now this peek inside the Method actor’s mind. The latter actually has a lot in common with the Cobain film, in that it too taps the private archives of a pop-culture icon to let him tell his story in his own words.

In the case of Marlon Brando, director Stevan Riley had access to caches of audio-tapes of the eloquent, thoughtful actor, who later in his career became more reclusive and more inscrutable. The doc spans the star’s career, giving as much space to his string of 1960s flops and his enthusiasm for Tahiti as he does to On the Waterfront or The Godfather. Pretty much the only voice here is the big guy’s, which makes the movie feel like a frank, personal behind-the-scenes look at what drove an oft-mercurial man. Season Two has required a lot more set-up, with episode after episode of new characters popping by hype up the Machiavellian alternate-Earth speedster known as “Zoom.” All of that finally paid off last week in a long visit from the ultimate rogue and some peak Flash action. Even before the Big Bad zipped over from Earth-2 to pummel our hero into near-paralysis, this was a packed episode: a jailbreak by tragic antagonist Dr.

Light; a hilariously awkward Zoom-baiting ruse involving Light’s Earth-1 doppelgänger; and multiple attempts by the newly psychic Cisco to pick up “vibes” from the morally questionable scientist Harrison Wells. “Enter Zoom” sported the brightness, humor, and camaraderie that’s been setting this show apart from its much grimmer DC-derived brethren Gotham and Arrow (not to mention Marvel’s Agents of S.H.I.E.L.D). But the episode also gave us a lingering look at a seemingly unbeatable foe, which could lead to some nerve-wracking but entertaining complications for Barry Allen and company in the months to come.

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