The Michigan Daily - Friday, September 25, 1998 - 11 6ensational Celine goes on with class I By Curtis Zimmermann Daily Arts Writer One couldn't help but make "Titanic" kes as Canada's sweetheart, Celine Dion, brought her "Lets Talk About Love" Tour into Detroit on Wednesday night for the second of two concerts. She remarked about her career that she didn't do much this past year, except get on a boat. The show took place in-the-round, on a stage in the center of the arena. For nearly two hours, she bounded around in heels, singing her power ballads. The Sow as well as her music seemed to (mbine elements of pop and hard rock, .for a Cher-meets-Aerosmith atmosphere. At each corner of the stage her musicians - six in all - were placed on plaurms that were raised and lowered throughout the show, as her three back-up singers roamed around her. The average age of the crowd seemed mainly older than 30 with the occasion- Celine Dion The Palace Sept. 23, 1998 al group of young teenage girls who, while definitely noticeable, didn't seem too numer- ous in this "adult contemporary" audience. There were two negative aspects of the show that should be brought out first simply because they were unnecessary and rather corny ele- ments of the per- By Myself," were executed brilliantly, giving her voice, as well as her guitarist, many chances to shine. During this time, there were a couple of upbeat songs mixed with the ballads as well as her lat- est "Love You More" complete with its violin solo. About an hour into the show, the band converged at center stage for the cus- tomary Unplugged, or "Pit Session," which seems to occur at just about every modern rock show these days. While giving her a chance to sit down, she used it to pay homage to Roberta Flack, The Beatles, Eric Clapton and Frank Sinatra. Following this, she introduced the band and left the stage, only to return in a white suit. She told the crowd she was going to turn this place into a dance party. A huge disco ball was then low- ered and she played "Stayin Alive" and "You Should Be Dancing.' It's some- what ironic that these were the songs that propelled "Saturday Night Fever," whose supremacy as the greatest-sell- ing soundtrack was knocked off thanks to Dion and "Titanic" this year. While this part of the performance was rather corny it was still a break from her slow songs, it served as a crowd pleaser. It was after this that she made her ill-fated Online collaboration with the Gibb brothers. As the Palace went totally dark, the cigarette lighters began to flicker and a slow roar began to develop. As the intro to "My Heart Will Go On" began the place erupted in a concrete shattering roar. At one side of the stage, a few bars were raised to resemble, you guessed it, the front of a ship. She emerged dressed in '20s style clothes and sang her smash hit as thousands mouthed the words in an almost hypnotic unison - a sight that would terrify many of her detrac- tors. She then left the stage once again, surrounded by an army of security guards and she still managed to make an impact as she brought one teenage girl to tears by touching her hand. While Celine Dion's music is the epit- ome of commercialism, the show could serve as the model for it. It proved that even the most blatant exposure can have at least some redeeming qualities. Dion and her band, for the most part, kept focused on the music with absolute pre- cision, serving as the major force, not just the hit songs. Even if she is on everything from Blockbuster's in-store reels to "South Park," she showed that it is still possible to do it with style. Marleys crowd By Ryan Malkin Daily Arts Writers The reason for the sudden influx of Jamaicans and dread-haired friends on campus this weekend was that Ziggy Marley and The Melody Makers were tak- ing the stage. Although none of the promotional material mentioned Joan Jones, the opening act, she did excite the crowd to hear Ziggy. As the reflection of light from Joan Jones' guitar pierced through the crowd, we saw what could be a Jewel clone with a splash of Shania Twain in the vocals standing center stage. This twangy country/folk/pop singer tried invigorating the crowd, yet the only response she received was an array of sex comments from the first few rows. Yet, her failure wasn't from a lack of trying. Jones was seen dancing and twisting about, trying desper- ately to get het backup instru- mentals to show some sign of life. Her backups seemed like Ziggy Marley they were working, the sign of and the Melody any bad performer. Despite the Makers band's energy level, Jones Michigan Theater thrilled us with her musical tal- Sept. 22. 1998 ents, although singing wasn't No. I on the list. Jones played a song off her new album titled, "Passionate,' behind the piano. Then amazed the spec- tators once again with her trumpet skills, coming across as a regular.Miles Davis. Just when the audience seemed to have had quite enough, Joan Jones strapped on a Les Paul guitar and jammed out a bluesy solo in the tradition of B.B. King. Despite the rather impressive array of musical abilities, Joan Jones seemed like she should be play- ing at the open mike night at an Espresso Royale instead of at the Michigan. Her songs seemed too artificial. Although she did bring a certain energy to the stage, everything is relative. Just as the buzzes were wearing off the patrons, the bass line to Ziggy Marley's "Power to Move Ya," came blaring through the amazingly crisp sounding speakers of the theater; the crowd was now on its sec- ond wind. After a standing ovation, Marley gave a greeting that made chills run up the audience's spine. Almost exactly as his legendary father, Bob Marley, Ziggy greeted the audience with the ever familiar "Greetings from the emperial majesty, Jah ever-live- ever sure ... " that we all heard on Bob's many live WARREN ZINN Daily Ziggy Marley had the crowd at the Michigan Theater movin' and grovin' this past Tuesday. The son of Bob Marley played with his brother Stephen, and fellow Melody Makers. formance that took away from the over- all musical quality. Twice during the evening she sang virtual duets, once with Barbra Streisand, and another time with the Bee Gee's. This lame computer trick seemed like cheap sensationalism ,it seemed to trivialize her abilities as a -rformer. Put simply, it just wasn't nec- essary. Other than those two moments of Cyber-rock at its not-so-finest the show was solid in form from the beginning when she opened the show with "Let's Talk About Love." Complete with chil- dren's choir, which looked somewhat terrified up on stage, it remained kind of like a theme song for the rest of the evening. Considering that most of the *gs fall into the category of love, or lost love. The evening was marked by such hits as "Its All Coming Back to Me" and "All albums. Dreadlocks waving and twisting under the dulled red lights, Ziggy and the crew moved into "Tomorrow People." During the next several songs, Marley and his brother Stephen shared the vocals with the rest of the clan singing back-up and playing the several percus- sions, guitars and bass. If the audience closed its eyes and listened to the music, it could almost feel Bob's presence; especially when it was "Three Little Birds" that it was hearing. The audience swayed in unison, back and forth as though singing "Give Peace a Chance." In the midst of "People Get Ready" Stephen bust- ed into a free style rap, not unlike the Sugar Hill Gang, only reggae. The repetitive guitar and voice solos in every song somewhat became distracting. It created a foggier distinction between songs. They flew through songs such as "Boss Man," and the new "Conscience Party." At this point the audience was still in sway, even if only out of habit. The eclectic crowd ranged from 50- year-olds to the 12-year-olds that were seated beside me. To bring the audience back, Stephen began "No Woman No Cry," with Ziggy pounding the bongos. Now the crowd was swaying slower and with much more emotion, as if singing "Kumbaya" at a camp fire. This sparked the crowd's interest once again, and the group rapped renditions of "Never Forget Your Dreams,' and "Free Like We Want To Be." Despite a few slip-ups by the sound man, namely turning the treble too high at times, the acoustics were surprisingly clear. The lights, on the other- hand, were extremely static. To reminisce some more, they played the legend's classic "Jammin."' Amid the jam session of this song, they re-energized the crowd by announcing they "smoke herb" as they hopped off stage. And the crowd began chanting "Ziggy," in need of more. Just as bouncy as they went off stage, they hopped back on stage to complete the all important encore. A very smooth saxophone solo opened for "Justice," then they brought back the spirit of the legendary Bob Marley for their strikingly similar rendition of "Could You Be Loved.' Although some of the Melody Makers' music has digressed this past album from the Grammy winning "Free Like We Want To Be," Ziggy always puts on a good show. Ziggy took the audience through a proverbial roller coaster, bringing us up and dropping us down, only to bring us back up again before returning the crowd safely home. Although the opening act created some doubt amid the crowd of 800 or so fans, the essence of Bob Marley influenced us to hold on so as to catch a glimpse of the legend in his sons. And it was defi- nitely worth the wait. Start at the top and work upwards. McKinsey only wants the best. So, if you're a graduating University of Michigan Ph.D. or Postdoc student - in any discipline - McKinsey is your chance to start at the top and keep excelling. As a management consultant with McKinsey, you'll be confronted with a succession of varied and contrasting challenges. We are one of the world's leading international management consulting firms and a career with us means working closely with the most senior people in major corporations to help their businesses perform better. It is an exceptionally stimulating and intellectually demanding role. You'll work with highly talented and supportive colleagues in an environment capable of stretching even the brightest minds. The rewards are high - not least in terms of job satisfaction. If you'd like to hear more about what a career with McKinsey offers, come to our presentation on Monday, September 28, 5:00 p.m., at the Michigan Union, Pendleton Room. A reception will follow. Dress - informal. Atmosphere - relaxed. You are welcome to either bring your resume or C.V. with you or submit it at a later date. For additional information, please contact Mindy MacGriff at (313) 202-5245. McKinsey is an equal opportunity employer committed to diversity in the workplace.