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    Pop Songs, ‘Hamilton’ and Windows 95 Chime Join National Registry

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    The recordings, along with works by Tracy Chapman, Elton John and the rock band Chicago, are among the 25 selected for preservation by the Library of Congress.Hits by Celine Dion and Mary J. Blige. The song “Happy Trails” by Roy Rogers and Dale Evans. Tracy Chapman’s debut album. The original cast album of the Broadway musical “Hamilton.” The chimes Brian Eno wrote for Microsoft Windows in 1995.These were among the 25 audio works chosen this year to join the National Recording Registry of the Library of Congress, which preserves works deemed “culturally, historically or aesthetically significant” that are at least 10 years old.More than 2,600 nominations were made by the public this year, with “Chicago Transit Authority,” the 1969 album from the rock band Chicago, topping the list, according to a news release from the Library of Congress.The Elton John album “Goodbye Yellow Brick Road” — which features songs like “Bennie and the Jets” and “Candle in the Wind” — and the R&B album “My Life” by Mary J. Blige were among the top 10 of public nominations.The new class of inductees for the National Recoding Registry brings its total number of titles to 675.Carla Hayden, the Librarian of Congress, said in a statement that the selected works were the sounds of America and that the registry was “our evolving nation’s playlist.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      Should Famous People Be Telling Us This Much About Their Illnesses?

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      For some celebrities, revealing all is part of the product. For others, it looks like a deeply unpleasant chore.This past summer, Celine Dion manufactured a breathtaking cultural moment. It was at the opening ceremony of the Paris Olympics, just after a long, daffy and highly maximalist buildup to the lighting of the Olympic cauldron. Suddenly, there she was, standing on a terrace of the twinkling Eiffel Tower in a scintillant Dior gown. As she sang, a swell of both applause and what sounded like a collective moan of pleasure rose from the audience. Celine Dion was alive and singing. And if you didn’t cry, it could only be because you didn’t know.It was hard not to know. A few weeks before the Olympics came the release of “I Am: Celine Dion,” a well-publicized documentary that took viewers inside what had become of her life since she became largely housebound with stiff-person syndrome — an exceedingly rare disorder that, in Dion’s case, causes terrifying whole-body spasms so severe that they can break bones. Anyone who has watched “I Am” knows what these crises look like, because Dion allowed herself to be filmed during one of them, for 10 minutes, her body frozen in agonizing contortions. By that point, we were already familiar with Dion’s universe of deep illness; we’d seen her holed up in her Las Vegas compound, surrounded by doctors, unable to walk properly, unable to sing properly, often supine, her body distended, her skin raw. In terms of radical transparency, “I Am” is a milestone: a completely new standard for Bravely Baring All.Dion is far from the only celebrity to have invited the public to witness life with a serious illness. Lady Gaga’s 2017 documentary, “Gaga: Five Foot Two,” revealed the star’s daily struggle with fibromyalgia, and in last year’s “Still,” Michael J. Fox — a groundbreaking figure in celebrity-illness transparency — further tugged down the curtain on how severe his Parkinson’s disease has become. Selma Blair, who spent a portion of her career hiding symptoms, eventually revealed a diagnosis of M.S. and then began posting intensely personal bedside updates on social media. Last year an issue of British Vogue had her on the cover, in a skinny beige column of a dress, patent pumps and a cane, with a headline announcing her as “Dynamic, Daring & Disabled.”For fans, these narratives can create a kind of whiplashing feelings roller coaster. You see Lady Gaga diminished and sobbing because of unrelenting full-body pain — and then, soon enough, suspended from the top of a Houston stadium for a Super Bowl halftime performance. You witness Celine Dion in a heartbreaking, horrible fit and then belting out an Edith Piaf song from such great heights. The intention here, surely, is to show that such stars are only human, that their lives and bodies have the same potential for suffering as ours. But the insane highs and pitiable lows these stories offer us feel almost inhumanly extreme. And in watching them, I began wondering if the stars in them didn’t end up feeling caged by the seemingly necessary Hollywood framing in which inspiration and drama need to take precedence over nuance and open-endedness. Dion and Gaga have to adapt to illnesses for which there is no known cure. So what do they do now? The answer is synonymous with their job: perform.Middleton’s video just feels so weird.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      An Epic Summer Olympics Playlist

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      Hear triumphant tracks from John Williams, Whitney Houston and, of course, Celine Dion.Celine Dion performing at the 1996 Atlanta Olympics.Mike Hewitt/Getty ImagesDear listeners,I just got out my thermometer to confirm and, yep, it’s official: I have Olympic Fever.Like much of the world, I have been glued to my TV watching the Paris Olympics for the past few days. I confess that I am, at best, a fair-weather fan of most of the sports that take place during the Summer Games, but one symptom of Olympic Fever is suddenly caring deeply about things you recently knew next to nothing about. Several days ago, if you asked me to name a male gymnast who is currently competing at the elite level, I would have stared at you blankly. But after Monday, when the U.S. men’s gymnastics team won its first medal in 16 years thanks in part to the bespectacled pommel horse specialist Stephen Nedoroscik, everything has changed. Don’t even get me started on the U.S. women’s rugby team.Today’s playlist, naturally, is a soundtrack for Olympic Fever: A collection of past Summer Olympic songs from the likes of Whitney Houston, Gloria Estefan and Björk, among others — plus a certain Èdith Piaf song that took on new resonance at this year’s opening ceremony.Subtlety is not exactly a virtue when it comes to an Olympic song, so be warned that this playlist contains grandiosity, majesty and even a little schmaltz. But it also has the power to transform whatever you’re doing into an Olympic event, whether that’s running a 100-meter sprint, successfully flipping a pancake or — like Nedoroscik, man of many talents — trying to solve a Rubik’s cube in under 10 seconds. Use it wisely.I want one moment in time,LindsayListen along while you read.1. John Williams and the Berlin Philharmonic: “Olympic Fanfare and Theme”Let’s begin with some fanfare. The prolific composer John Williams — best known for his film scores — has written four different Olympic themes over the years. But his first, composed for the 1984 Los Angeles Olympics, is still probably the most widely recognizable. “Olympic Fanfare and Theme” is guaranteed to bring a sense of triumphant grandeur to whatever you’re doing. Put this on at the end of a run and you will be physically unable to slow down.▶ Listen on Spotify, Apple Music or YouTubeWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      Opening Ceremony Misses the Boat

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      The Paris Games began with a new look and sparkled with Celine Dion. But the show suffered from bloat similar to TV’s other spectacles.About six hours before Celine Dion gutted out the final number of the Paris Olympics opening ceremony, the streaming service Peacock emailed a promo for its coverage with the headline, “We’ll all be crying by the end of this.” So maybe they knew more than they were letting on.The homestretch of the marathon four-hour broadcast, when the celebrating athletes and dance extravaganzas and speeches were out of the way, had some starkly lovely images and moving moments: the speedboat carrying former champions up the Seine in the dark (like a real-life echo of Leos Carax’s great water-skiing scene in “Les Amants du Pont-Neuf”). The grand scale and dramatic lighting of the Louvre as the torch was carried, like a firefly’s flame, through its courtyards. The torch coming to the hand of a 100-year-old French cyclist, steady in his wheelchair, and Dion defying her illness to belt out “Hymne à l’Amour” on the Eiffel Tower.Celine Dion’s performance of “Hymne à l’Amour” provided a triumphant finale.Chang W. Lee/The New York TimesBut it took endurance to get there — for the athletes, performers and spectators drenched by the summer rain, and for the viewers at home watching the ceremony as it was conceived by the French organizers and packaged by NBC and Peacock.The decision to abandon the event’s traditional format — the long, formal parade of athletes marching into a stadium — for a waterborne procession along the Seine intercut with performances had a twofold effect. It turned the ceremony into something bigger, more various and more intermittently entertaining. But it also turned it into something more ordinary — just another bloated made-for-TV spectacle, like a halftime show or awards show or holiday parade that exists to promote and perpetuate itself.Those spectacles can be fun, of course, and the traditional Olympics opening ceremony could feel dull and interminable. But it was not quite like anything else, and it played a key part in making the Games feel special.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Celine Dion Can Only Be Herself

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      The singer’s over-the-top sincerity and expressiveness were once seen as irredeemably uncool. In the new documentary “I Am: Celine Dion,” they have become her superpowers.“I always envy people who smoke and drink and party and don’t sleep,” Celine Dion tells her physical therapist with an exaggerated sigh, midway through the new documentary “I Am: Celine Dion.” “Me, I have water and I sleep 12 hours.”This monastic constraint has long been a core part of the Celine Dion legend. A professional singer since 12, she spent decades meticulously caring for her voice as though it were an endangered hothouse flower, committing to long stretches of vocal rest, complicated warm-up rituals and a lifestyle of exacting discipline — all so she could leap octaves and belt soaring notes with gobsmacking precision.In a cruel twist of fate, though, even the ceaseless care Dion devoted to her voice could not preserve it. In 2022, she revealed in an emotional Instagram post that she has stiff person syndrome, a rare and incurable neurological disorder that causes painful muscle spasms and affects roughly one in a million people. After watching “I Am: Celine Dion,” a remarkably candid portrait directed by Irene Taylor on Amazon Prime Video, it is difficult to imagine a disease that would be more personally devastating to Dion, whose entire career has been one long exercise in control, sacrificing all for the ecstatic release of live performance.Since her emergence as a Québécois child star with a precociously huge voice, something about Dion’s essential nature has remained constant, impervious to both changing trends and scathing critique. Whether power ballads were in fashion or not — and by and large, they were not — she sang them with the conviction of someone who’d never even heard the word “restraint.” “At her best,” wrote Elisabeth Vincentelli in a Times review of Dion’s most recent New York performance in February 2020, “Dion projects a sense of bigness — besides fairly simple graphics, the background videos in her show often showed cosmic images, as if they were the only thing measuring up on the Dion scale.” This bombastic approach gained her a worldwide fan base and a requisite backlash that she may have finally outpaced.In 2007, the music critic Carl Wilson used Dion’s 1999 blockbuster album “Let’s Talk About Love” as the inspiration for an insightful, ultimately sympathetic book-length examination of musical taste, the assumption being that (at least 17 years ago) Dion’s name was a symbol for all things gauche, sincere and uncool. (The book’s subtitle? “A Journey to the End of Taste.”) “Schmaltz rots faster than other ingredients in the musical pantry,” Wilson wrote, “which may be why we doubt the possibility of a Celine Dion revival in 2027.”Dion allows cameras to follow her as she struggles with stiff person syndrome in a new film.Amazon StudiosWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘I Am: Celine Dion’ Director Talks About Capturing the Star’s Seizure

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      Irene Taylor, director of the new documentary “I Am: Celine Dion,” talks about the decision to include a grueling scene of the pop star in crisis.This article contains spoilers.Celine Dion welcomed the cameras. For the new documentary “I Am: Celine Dion” (streaming on Amazon Prime Video), the singer set no restrictions on what to film.What follows is a painfully intimate portrait of a pop star’s body fighting itself. Dion announced in 2022 that she had stiff person syndrome, an autoimmune neurological condition that causes progressive stiffness and severe muscle spasms. During a session with her physical therapist that was being filmed for the documentary, Dion has a seizure. The camera continued to roll throughout the medical crisis.In an interview via video call on Monday, the director, Irene Taylor, discussed shooting the documentary and why Dion’s emergency was included in the final cut. These are edited excerpts from the conversation.How far into preproduction did you learn about Dion’s illness?I spoke with her at length, and I did not know she was ill. We were in the middle of the pandemic and I didn’t think twice about her being at home. Most of us were, and performers around the world were sort of out of commission temporarily.We got to a place where we agreed to make the film. It was several weeks after that mutual decision that her manager asked me for a call. I figured it must be something serious because we got on the phone that day, and he told me that Celine was sick and that they didn’t know what it was. We were filming several months before there was a definitive diagnosis.After getting the diagnosis, was the conversation on the table to stop filming?Definitely not. When I realized that a) she had a problem with no name and b) when I actually started filming I could see how her body looked different, her face looked different, I was able to focus. The iris of my perspective got much smaller.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘I Am: Celine Dion’ Review: You Saw the Best in Me

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      Dion’s voice made her a star. A new documentary on Amazon Prime Video brings her back to Earth, showing her intimate struggles with stiff person syndrome.Illness shows no regard for even the most revered figures in pop music.In “I Am: Celine Dion,” a documentary about the global songstress on Amazon Prime Video, it quickly becomes clear that Dion can’t even move her body, let alone deliver a soaring ballad with the full force that, from her teenage years on, roused millions. The film, by the director Irene Taylor, records the singer’s agonizing reality as she battles the rare neurological condition called stiff person syndrome.In an Instagram post in December 2022, Dion tearfully revealed her diagnosis to her fans, but the documentary had already been in production by then. Taylor opens the film with relaxed scenes of Dion at her home in Las Vegas with her children and staff. Then the part that’s painful to watch: The singer is heard moaning as she has a seizure on the floor. Learning early on that she had always wanted to sing “all my life” intensifies the tragedy of watching Dion, now 56, struggle to continue to live that dream. Dion’s voice made her a star; this film is keen on making her a person.But there is nothing subtle in Taylor’s montages, such as a high-energy past performance cut with the subdued domestic energy on display while Dion is vacuuming her couch. One shot pans to her eerily empty living room, a severe departure from playing packed stadiums. Even the score aches. All this palpable sadness is, perhaps, why Taylor interjects clips of Dion in better times.I understand the inclination to not define Dion by her diagnosis. But Dion’s spontaneously expressive personality already shines through her pain in raw footage that feels more connected to her healing journey, like when her physical therapist nags her about a cream she hasn’t been applying to her feet. “Give me a break,” she says with playful exasperation.She then sings “Gimme a Break,” the Kit Kat commercial jingle. While that welcome touch of humor pulls you into this intimately told story — what’s more Celine than an impromptu vocal? — inconsequential clips take you out of it: her impersonation of Sia on a late-night talk show; a part of her “Ashes” video that lets the Deadpool cameo go on for too long; her career-defining ballad “My Heart Will Go On” but, mystifyingly, the “Carpool Karaoke” version with James Corden.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Best and Worst Moments From the 2024 Grammys:

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      Young women brought the drama, Jay-Z surprised with a barbed speech and heroes long absent from the show’s stage made welcome returns at the 66th annual awards.The most awards at the 66th annual Grammys went to Phoebe Bridgers, who picked up three with her band boygenius and one for a feature on a SZA song. SZA, who came into the night with the most nominations, was shut out of the biggest honors — for album (which went to Taylor Swift’s “Midnights”), record (Miley Cyrus’s “Flowers”) and song (Billie Eilish’s “What Was I Made For?”) — but took home three trophies. Victoria Monét was named best new artist, and Swift’s album win broke a Grammy record for the category. The show was particularly joyous, slick and thoughtful, featuring several striking performances and a few raw acceptance speeches. All in all, it captured pop music as it actually is — centerless, and subject to change at any moment.Best Theatrical Pop Stars: Billie Eilish and Olivia RodrigoFrom left: Billie Eilish and Olivia Rodrigo brought powerful vocals and a bit of theater to the Grammy stage. Photographs by Valerie Macon/Agence France-Presse — Getty ImagesTwo of the night’s strongest performances came from young women using pianos to accompany the wispy, stratospheric upper reaches of their registers — and to comment on the tyranny of fragility and prettiness. The first was Billie Eilish, stunning the crowd to silence with a sparse, deeply felt reading of “What Was I Made For?,” her “Barbie” ballad that later picked up song of the year. The second was Olivia Rodrigo, who nailed the vertiginous high notes that punctuate her rock-operatic smash “Vampire,” and then riffed on the song’s theme as she smeared herself with spurting fake blood. Each performance, in its own way, felt like a rebuttal to the constricting standards to which so many young women are held. Eilish’s was about the pain of being perceived as an object; Rodrigo’s reimagined the same kind of pressure as a horror movie. Both understood the power of a little theatricality. LINDSAY ZOLADZBest Debut Grammy Performance: Joni MitchellJoni Mitchell won a Grammy for best folk album, then performed with a group of musicians.Valerie Macon/Agence France-Presse — Getty ImagesJoni Mitchell, 80, has been singing her prismatic folk ballad “Both Sides Now” since she was 23, and yet every time she performs it, she seems to be interpreting its infinitely wise lyrics anew. The rendition she performed at the Grammys — her first-ever performance on the award show, which makes sense given how underestimated and slighted by the industry Mitchell has felt throughout most of her career — was at once elegiac and nimble, backed by a loose jazz arrangement that allowed her to riff on its familiar melody. Showing off a resonant tone and impressive range that she has worked diligently to strengthen since suffering an aneurysm in 2015, Mitchell’s performance was like a brief, magical visitation from a musical deity. ZOLADZBest Surprise Roast: Jay-ZJay-Z brought his daughter Blue Ivy Carter onstage during his acceptance speech at the Grammys.Valerie Macon/Agence France-Presse — Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Celine Dion, Coping with Neurological Disorder, Presents the Album of the Year Grammy

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      Celine Dion, the Canadian pop superstar who announced in 2022 that she has a rare neurological disease that makes it difficult for her to sing, appeared at the Grammy Awards to present the final award of the night, album of the year.Walking out to “The Power of Love,” Dion looked moved by the standing ovation, saying, “When I say that I’m happy to be here I really mean it from my heart.”“Those who have been blessed enough to be here,” she went on, “must never take for granted the tremendous love and joy that music brings to our lives and to people all around the world.”Dion, 55, first announced over a year ago that she has a condition called stiff person syndrome, which causes progressive stiffness in the body and severe muscle spasms, leading her to cancel a scheduled world tour. A five-time Grammy winner — including album of the year in 1997 — Dion has maintained a legion of fans around the world, and before the diagnosis, she was an active performer, delivering soaring hits such as “Because You Loved Me” and “My Heart Will Go On” alongside her newer music.Last week, Dion announced a documentary following her battle against the disorder. Dion indicated in the announcement that she was aiming to return to singing, saying in a statement, “As the road to resuming my performing career continues, I have realized how much I have missed it, of being able to see my fans.” More