Perspectives on Blue Is the Warmest Color and Pariah and how it molded my stages of queerness from a queer, Black woman.
Have you ever sat in a room with Shame? Listened to her suck her teeth and watch her shake her head? Felt the growing fear that she’ll whisper your deepest secrets and fears into the ears of those around you?
I often sat with Shame, coming from a Black Southern Baptist background; but it was one particular night that she felt strongest. She slammed my laptop shut as the loud moans, heavy breathing, and slapping blasted through my headphones. She giggled as I glanced around the pitch black room for something or someone. She convinced me to open my door, creep into my living room, and hold my breath, listening for the voices or breathing of someone in the suite, although I knew that my suitemate had gone for the night and that I was totally alone. She convinced me someone could hear the sounds from my headphones–that they would point and yell, “She looking at that gay shit, y’all!” But I didn’t let Shame have her way. Once I was confident that the suite was empty, I quieted her down, opened my screen, and continued watching with her looking over my shoulder.
I had been watching the film Blue Is the Warmest Color, which stars Lea Seydoux and Adele Exarchopoulos and is directed by Abdellatif Kechiche. Three hours of an intense love between two young french girls, Adele and Emma, unfolding. Blue Is the Warmest Color–originally a graphic novel I read and loved while working at a bookstore–was adapted into a film by a problematic director. Think-pieces and critiques journaled the violence,inappropriate behaviors, and methods that Kechiche employed throughout the film, specifically the sex scenes. Viewers watch as Adéle, characterized by her messiness and insatiable hunger, struggles to find fulfillment in her desires until the moment she meets Emma, a blue-haired artist. The two fall in love, live together, and ultimately break up after Adéle cheats on Emma. The film ends with the two reconnecting and parting at Emma’s art show as adults.
The film is filled with scenes where viewers are forced to come face to face with Kechiche’s misguided image of womanhood and women’s sexuality in Blue Is the Warmest Color. One moment, in particular, is a scene where a queer male character talks over lesbian characters about female sexuality and expressions of desire. This character speculates about women’s desires and bodies while simultaneously assuming authority over the subject. This moment, not included in the graphic novel and constructed by Kechiche, could have been a space where the women’s politics of desire were addressed, especially in a lesbian space, instead their voices are hidden. It is not until I watch again that I am able to listen to the words of the women, enjoy and understand the looks they share, and the intimate ways desire manifests as they “listen” to the words of the queer male character. This scene, although problematic, proves to be important because it attempts to use desire in dialogue. How is desire constructed and manifested in the lives of these characters. Adéle, who struggles and explores her politics of desire throughout the film also happens to be absent from the conversation. Nevertheless, this scene manages to connect, for me, a construction of desire and experiences of shame.
Moments that I find myself drawn to, both the first time I watched and during my most recent experience watching the film, include scenes such as a queer male character talking over some of the lesbian characters about female orgasms. Here we can get a glimpse of the thoughts and opinions of Kechiche. The scene, at first confusing and intriguing, becomes annoying and unnecessary. Why? Because it presents a male character speculating women’s desires and bodies while simultaneously assuming authority over the subject. It’s easy for me to skip the scene altogether.
Later in the film, there’s a pivotal moment when Adéle’s friends confront her about her sexuality when they watch as she walks off with Emma, who they believe to be queer. There is a violent desire and demand for Adéle to explain herself and her relationship with the mysterious woman. We see Adéle react aggressively to the accusations of her lesbian identity. I was, once again, forced to come to face-to-face with shame in all of its manifestations. What during my first viewing seemed to be a shame solely resting on my shoulders as the viewer, erased the shame that manifested for the characters in the film, specifically Adele. The shame Adele feels having her friends confront aggressively and publicly shaming her, as well as the shame she feels for having these feelings of desire and curiosity that Emma brings to life in her.
Nevertheless, Blue Is the Warmest Color offers viewers a chance to watch young lesbian love in seemingly pure and honest ways. There are moments of tenderness and warmth, such as when the two share their first kiss in a park and Adéle leans back to smile. Then there’s a scene when they are at a Pride event, dancing and kissing and loving one another. The most notable is when the two are seated on a bench in the park kissing, touching, and giggling with each other. These are the moments where they just exist in young love. There is no shame.
After my first time watching it, I was eager to share it with my friends. I watched Blue twice more with my straight friends who had read the articles and think-pieces about the film. Our feminist studies background urged us to dissect the male gaze and the violent need for men to insert themselves in queer relationships. But I didn’t really want that to dissect the film or approach it academically. I would have rather spoken about how it sat in and on my body; how it followed me for weeks and tugged at the politics of desire I had long ago buried — or so I had thought. So the conversation, for me, felt unfulfilling. Only one of my friends, my closest friend since high school, allowed me the space to talk about how important the moment of watching the film was for me. No critiques, no dissections, just my reflections and emotions as I finally had access to something else: for me to share my feelings of curiosity and discomfort. This friend was the only person who also managed to see a small moment of freedom for me–a freedom she commended while she sat with it with me. . That moment managed to disrupt the shame that had haunted me.
For months afterwards I poured into lesbian films and television shows on Netflix, albeit annoyed by all of the white women.There is undoubtedly an erasure of queer and lesbian black women and women of color in television and film. However, I was pleasantly surprised to see Pariah as a recommendation. Pariah follows a young, black, “closeted” lesbian, Alike, who lives in the Bronx with her parents and her younger sister. We watch Alike attend school, write poetry, and attend church with her family during the day. During her off time–those moments when she is not forced to present as straight and can explore her lesbian identity–she travels and explores the city’s lesbian scene with her best friend who dresses her up in masculine clothing and pushes her to talk with other girls. Pariah looks and feels different. There are friendships, homophobic parents, creativity, and heartbreak. There is blackness and confusion.
Notable moments and scenes from this film include a moment where Alike’s best friend, a masculine lesbian, purchases her a strap-on for her “image”. Alike is uncomfortable and angry at the small white dildo attached to her body and begs her friend to return it. Her friend urges her to wear it out that night and we see Alike awkwardly move in it and fumble with it moments before ignoring the girl her friend attempts to set her up with. I love the scenes where Alike seems her most vulnerable — standing in the mirror with her closest friend, tugging and shifting a symbol of masculinity, highlighting how foreign it is to her. It also highlighted the intimacy between the two friends. Other scenes include an unnamed masculine lesbian buying beer only to be harassed by a black man who seems to be disgusted, but also threatened, by the woman’s masculinity and sexuality. Pariah felt like a different film because it did not follow the love and relationship of two lesbian women, but rather chronicled the experiences of a black teenager exploring her lesbian identity and masculinity alongside the relationships around her. Balancing life where her sexuality is hidden or suppressed alongside a life full of moments where she feels celebrated and nurtured, which seem rare throughout the film. There is shame and discomfort. Unlike Blue, I did not share this film with others. Pariah was a film just for me.
Years later, I rewatch it and realize there are moments and habits from Alike–early moments of queerness–that I understand and to which I can relate. Her excitement for the possibility of love and intimacy alongside the fear of actually having love and intimacy. Her feelings of not being masculine enough or queer enough are made visible throughout the film’s entirety. Shame stalks Alike in similar fashion to the ways Shame stalked me. Pulling away from the kiss her friend shares with her and the feeling of being rejected. I understand why, years ago, the film sat with me and why–unlike Blue–it still sits with me to this day. I can still identify the shame, although now it does not haunt me. Because for me, queerness felt like something I was near but could not quite touch. It was with me but it was not in me. Today, I recognize that feeling as a part of the shame I felt and its many faces. Out and at another phase in my life and queerness, the films look and feel different to me. Blue is no longer important to me.; instead, watching it feels exhausting and drawn out, but I see moments, such as Emma’s fight with her friends, as a moment of gasping for breath and holding on to “normalcy”. While watching I can make phone calls, send e-mails, and watch videos as it plays in the background; but that fight brings me back. The moans, and breathing and slapping mean nothing anymore, and I don’t turn it down or search nervously around the room.
I watch both Blue Is the Warmest Color and Pariah as though I’m watching through new eyes. I’m also noticing the difference between watching something in shame and watching something with shame in it. Watching something in shame feels alienating and lonely. Watching something with shame in it feels like looking in a mirror. I am not isolated, rather I am forced to contend with a familiar feeling. I notice that watching something with shame in it (Pariah) sits with me because it feels so close to home.
I imagine my life consists of several phases in queerness; and queer films influenced these phases. There are the early days, your Before Queer (BQ) days. These were the days before I recognized my queerness, much less claimed that queerness. It was hard to imagine queerness or feel what it was like. But queer films provided the space for freedom and creativity that weren’t allowed in the BQ days, and allow you to imagine a queer future. Queerness was there and it was in me, but I did not see it nor did I live it. Then there were my Lost Queer (LQ) days–those days where I saw the queerness and recognized it, but was unable to claim it. It was where I could slowly imagine a queer future and a queer sense of being. Lastly came the Hella Queer (HQ) phase. It is where I am now. Where I have claimed queerness, where I can only imagine queerness, feel that queerness, and share it with those around me.
That happened because, before watching those films, I had worked hard to suppress my queer imaginary as an act of protection. But watching those films allowed me to give my suppression a rest and exist in a queer world. As a young queer woman coming into queerness and coming out to those around me–as well as to myself–these films were monumental. I watched both films for the first time in my earliest days as a young queer, Black woman, attending my college campus queer organization as an “ally”. These films allowed me to step from behind the façade and sit in the in-between–the in between of my identity, and the in-between of fear and freedom, a vast space where confusion rests. My own in-between.
This is a hello to the queer imaginary as it forms, grows, and struggles to manifest in my day-to-day life and experiences of fighting it, loving it, hiding it, and letting it in. I jokingly refer to both of the films as The Films That Made Me Gay. What they really are, however, are the films that helped me come into queerness on my own terms. This is my first written piece as an out queer writer, creating content that brings to life those worlds and spaces that manifest in my queer imaginary.
About Magazine took off to Dallas this past weekend to attend LeakyCon, the largest Harry Potter convention in the world, where editor-in-chief Anthony Ramirez caught up with Chris Rankin, who played Percy Weasley in the films to chat about the movies, their impact on LGBTQ people, and what he’s been up to since.
(DALLAS) – LeakyCon is the largest Harry Potter convention in the entire world, which began nine years ago in Boston. Now, getting ready to head into its tenth anniversary year in 2019 with two celebrations (one in Dallas and one in Boston) after celebrating its ninth in Dallas, it’s clear to About Magazine staffers why the convention is so popular for fans of the Harry Potter series — it’s friggin awesome. From booths selling hand-carved wands, to pints of butterbeer, to actors and creators of the Harry Potter universe meeting with fans and speaking about their experiences. From Sorcerer’s Stone all the way up to Fantastic Beasts and Cursed Child, the convention celebrates it all — and proved to be especially accommodating to the LGBTQ community (see photo of bathroom signs below). There’s not shortage of things to do, balls to attend, panels discussing everything from rape culture in the series to JK Rowling’s Twitter presence. Attendees parade about in cosplay — one man in particular even striking an eerie resemblance to the late Alan Rickman — and rest in common rooms appropriately decorated for each of the four houses of Hogwarts School of Witchcraft and Wizardry (Ramirez claims to be a studious Ravenclaw, while his friend/pretend employee if anyone at LeakyCon asked, Kirby Mitchell, asserts he is a courageous Gryffindor, but is more likely an undercover Hufflepuff).
And while there, About Magazine editor-in-chief, both Ramirez and Mitchell were given the opportunity to meet one of the film’s stars, Mr. Chris Rankin. Rankin appeared as Ron Weasley’s elder brother Percy — the perfect prefect that had a knack for being a bit of kiss-ass but that turned out to be a hot, ass-kicking wizard nonetheless — in all but two of the franchise’s original eight films (adaptations of Goblet of Fire & Half-Blood Prince didn’t include Percy’s character). But eighteen years after his first audition, Rankin is a lot more than just the goodie-two-shoes of the ginger-headed Weasley family. He’s hard at work back on the stage in a forthcoming production of The Wizard of Oz at the Bradford Playhouse in metropolitan West Yorkshire, England; and just recently, Rankin wrapped editing on his directorial debut — a short-film entitled Dad, which will air on the BBC sometime this winter. Between his film and stage work, Rankin takes kindly to meeting up with fans of Harry Potter across the world at conventions, conferences, and other public appearances. At LeakyCon, Ramirez and Mitchell were given the chance to talk to Rankin about how he got into the Potter-verse, his feelings on Wizarding World’s representation and diversity, and what it’s like to know that the LGBTQ community relates so much to a world he helped bring to life on the screen.
Anthony Ramirez: I really feel like … in doing these interviews — and I want to preface with this —
Chris Rankin: [Laughs] I love when an interview starts with, “I’m just gonna say this first …”
AR: [Laughs] I know. Right? It’s just — I mean, I talk more in interviews than I listen. But it’s fine.
AR: No, but I feel like y’all probably get the same questions over-and-over about Harry Potter.
CR: [Thinking] Yeah.
AR: So we’re going to try and be a little bit outside of the box. But I bet you that everyone thinks that they are.
AR: [Laughs] So first off, um, I guess to sort of get the general questions out of the way, did you ever think that when you got into this franchise that it was going to be continuing onto this level today?
CR: Umm … no. I think it’s fair to say that none of us really knew what we signed up for at all. I mean … we were kids. But having said that, I don’t even think the grown ups would have particularly realized that it was going to be like this. And I don’t think — yeah. Even when we kind of realized like, This is a big deal — which I think for most of us was around the time of the premiere of Sorcerer’s Stone — we kind of went, “Oh, God. There’s real people out there and they want to see this film.” I think even then, and probably even most of the way through — probably way through to like 2011 when the last film came out — I don’t think that any of us anticipated that we’d still be here … now. And I know there’s Fantastic Beasts, and that’s sort of keeping the thing alive.
CR: But I don’t know. It’s been eighteen years since we started filming. But it was kind of unprecedented.
AR: Well, we [Anthony and his friend, Kirby] were talking about that last night, too. Trying to figure out how long it had been. And we were both kind of like, “Omigod.”
CR: It’s eighteen years next — no … eighteen years in about ten days time since I had my first audition. And then I started shooting about September 2000.
AR: Wow. That’s crazy.
CR: It’s terrifying.
AR: [Laughs] .
CR: I’m 35 this year. It’s … weird.
AR: I bet. And you said not even the adults were expecting it. And you were working with people like Alan Rickman and Maggie Smith who had been in film their entire lives.
AR: And it just blew out of the water so quickly.
AR: When it comes to the Harry Potter universe — and it keeps going with Fantastic Beasts and Cursed Child — do you see that at any point there might be some sort of end to that? Or do you think this is going to be something that carries with generations and generations to come like it has so far?
CR: I think — I don’t know. At some point there kind of has to become a point where Jo [Rowling] stops giving us new original creative material to work from.
AR: Well, and she won’t live forever either. So …
CR: No. Well, and that’s true. Unless … you know … well, you just never know with Jo. You don’t know.
AR: [Laughs] She’s got the Philosopher’s Stone.
CR: It’s entirely possible that Jo knows how to do that.
Kirby Mitchell: [Laughs].
CR: But we’ve been promised five total Fantastic Beasts [films]. There has to come a point where enough is enough in terms of milking it. You know there’s only so much you can get ‘blood out of a stone’ wise. But, having said that, even without Fantastic Beasts, because again I’m 35 this year, I started reading Potter when the second book came out, so in ’98. So when I was 14. So I’m kind of first gen, original Harry Potter group of people. I’ve got friends who I went to school with who’ve got fourteen or fifteen-year-old kids who have obviously started reading Harry Potter five or six years ago who are second gen. And it’s not that they’re only reading it because Fantastic Beasts exists or because Cursed Child exists. They’re reading it because their parents are going, “These books are amazing.” And they’re going, “Oh, yeah. These books are amazing.” And that will carry on and carry on. So, yeah, feasibly, we could still be doing this in forty years’ time on like fourth generation Potter fans. It’s entirely possible. How well the films stack up against age, we can only say.
AR: Well, it’s certainly one of those things like with with The Chronicles of Narnia or The Lord of the Rings — those books span generationally.
CR: Yeah. Even Star Wars, which is like thirty or forty years old. You can still watch the original Star Wars and go, “Yeah. The graphics are a bit pokey. […] The storylines are terrible and it’s cheesy as hell. But … it’s great.” Maybe people will be saying that about Sorcerer’s Stone and Chamber of Secrets in about thirty years’ time. But, yeah they could be better. But you know what? They’re classics.
AR: At that point all movies will just be in 3D.
KM: We’ll just have VR [virtual reality] movies in forty years.
CR: AR [augmented reality] movies probably by then.
AR: Exactly how did you get to — because obviously you were very young at the time — but how did the audition come about?
CR: It was — basically there was a TV show on the BBC, it was called Newsround, it was a kids news bulletin and young adults, I guess. And they put the last article on the program [which] was, “And finally, Warner Bros. is making a film of Harry Potter and the Philosopher’s Stone and they want normal kids — just every day kids — to audition to play the parts in the film. So, if you want to be in film or you like Harry Potter and you want to do that, write to this address, send them a photo and a letter and say I wanna play whoever because of whatever. And if you don’t hear from them in two weeks, forget it ever happened.
CR: And a mate of mine I was at youth theatre with — I was sixteen at the time and he would’ve been 14 or so — he was ginger, as well, which is key. He rang me up on the landline, because this was before mobile phones — that’s how long ago this is.
CR: And he said, “Did you see that thing on Newsround? I think I’m gonna write in and say I wanna play Ron Weasley.” And I was like, “Yeah. I saw it. But I didn’t think anything of it.” And he was like, “Well, you should do it, as well.” So I did. I was like, “Yeah. Okay. Why not?” And my brain process was like, “Okay, well who should I play for?” Because I was sixteen and was sort of like, “Okay, well I’m sixteen. I’m too old for Ron. Harry’s not likely — besides everyone wants to do that. Hermione? Probably … unlikely.” And then I sort of thought, “Well, I’m ginger.” And Will, my mate, is ginger, as well. So I was kind of like, “Well, we’re both gingers. So Weasley is an obvious option. I’m not a twin. But I am sixteen. Percy’s sixteen. And I am a prefect. Percy’s a prefect. I’ve got ginger hair. Percy’s got ginger hair.”
AR: Wow. That aligned really well.
CR: It was like, “If I’m gonna get a part, it’s most likely to be Percy.” And that’s kind of just what I wrote. And then I didn’t hear anything for like five months. And then they just rung up out of the blue one day like, “Yeah. Can you come in tomorrow for an audition?” And I was sort of like, “Yeah. Sure.” And I did. And then like four days later I met Chris Columbus and David Heyman and reauditioned. And I started about a week and a half after that.
CR: When it happened it was just like poof! There you go! And then we were like on the Hogwarts Express chugging into Hogsmeade to do our first days’ filming.
AR: That’s insane. You were a very realistic sixteen-year-old knowing all of that, too.
CR: [Laughs]. I hedged my bets. I was like, “What part am I most likely to get? Let’s go with that.” Nobody likes Percy. He’s probably like the least popular choice.
AR: Oh, gosh. I don’t know. I always related to Percy because … I was a snitch.
AR: So we are an LGBTQ publication.
AR: And that obviously has a huge fandom just within the Harry Potter fans, too. And a lot of comes just from within the fact that LGBTQ people identify with Harry Potter’s story. As somebody who was a part of creating that story and bringing it to life, what does it make you feel like when people who are not just queer people, but people of color, and people with disabilities find that correlation — when they’re able to see themselves in those characters?
CR: Yeah. I think it says an awful lot about the world that Jo’s created. Interestingly, in my panel yesterday, somebody asked me about the lack of diversity in Harry Potter, which really kind of threw me, for a start. Literally the entire room went deathly silent.
AR: That’ll happen.
CR: Yeah. And I was like, Shiiiit. How am I gonna answer this without digging myself into an enormous hole?
CR: But what I was trying to say, although what i couldn’t quite work out how to say, is that there is a lack of diversity in Harry Potter. We can’t get away from that fact. However, the diverse masses have sort of focused on it and said, “This is the book for me! This is the book that makes sense and that I identify with.”
CR: And that’s regardless of the fact that it’s mostly white, straight, middle-class people. It fascinates me. However, it is a story about a selection of people who, for various reasons, don’t fit in with the “normal” population. Like … it might be because Harry’s an orphan who lived in a cupboard half his life and therefore doesn’t understand friends, doesn’t really know what love is, and doesn’t really know who he is because he’s lived this life of being a muggle when he’s really not — he’s actually a wizard. And suddenly he’s a wizard and he goes, “Oh. Hello. That makes sense.” One could liken that to sort of living your life as a straight person and then going, “Oh. I see! This makes sense. I’m not that person. Now this all clears up.”
CR: And you look at the Weasleys. There sort of just a whole family of people who don’t really fit the norm — who don’t really fit into this pureblood society that they’re supposed to be a part of. And I think that it’s really special. I think somehow Jo has created this perfect little mathematical equation that can answer so many questions and that provides so many different answers that — even if you don’t know you’re looking for them — you can find them. And even — and I’ve been talking about Harry Potter for the last eighteen years of my life pretty much on a weekly, if not daily, basis.
CR: And I do ramble — and I know I ramble when I’m answering questions.
AR: No, it’s okay.
CR: Especially when I’m not entirely sure what point I’m trying to make. But sometimes in the middle of all of that, I realize that another penny has dropped. And I’m just like, “Oh, shit!” [Snaps] “That makes so much sense!” All of the sudden this like rambling nonsense is suddenly, “AH! Got it!”
AR: [Laughs] I do the same thing. I get it. It’s revelation after revelation.
CR: Yeah. And Harry Potter — you could liken Hogwarts to Professor Xavier’s Academy for Gifted Youngters — you know? It’s a place where you don’t fit into the normal world. And that fits with a million different ethnicities, religions, races, genders, sexualities — everyone can go, “I don’t fit into this category.” Everybody. Even straight, cis, male, white, middle-class people can say, “I don’t fit into this community,” and therefore I can find something that I identify with in Harry Potter. It may be that, “Oh. God. I’m really like Draco Malfoy.” … which … is not necessarily a good thing. But if you can identify with him, then it’s a great thing.
AR: No, yeah. Absolutely. So I did want to ask you one last thing, because I know you’ve started working more in TV production, and you’ve started to move from in front of the camera. So what else do you have going on? Anything exciting happening?
CR: God. So much. I literally last week finished editing a short film I’ve just directed for the BBC–
AR: Oh, wow.
CR: … which will air in the UK in like November or December time. It’s a short film. It’s only ten minutes. It’s the first thing I’ve ever directed.
AR: Congratulations. That’s awesome.
CR: Thank you. I’m really excited about it.
AR: And what’s the title?
CR: It’s called Dad. And it’s written by a guy called Joshua McCord. It’s based on — it’s not loosely based, but sort of semi-based on something that happened in his childhood. And it’s interesting because it’s a piece sort of about accepting differences in people, interestingly. Yeah. And it’s really, really sweet. And I’m really happy with where it’s going.
AR: That’s amazing.
CR: Yeah. And I’m back on the professional stage this Christmas. I’m giving my Scarecrow in a sort of pantomime version of The Wizard of Oz. I have done proper stage work in ten years now, so that’s going to be fun. So, yeah. Life’s exciting. I’m having a go at everything.
AR: Yeah. You’re doing a little bit of everything. That’s amazing.
CR: I’m loving it.
AR: Well, congratulations, and thank you so much for sitting down with us.
CR: It was my pleasure. We should do it again sometime.
AR: This has been Chris Rankin — [gayer voice] Percy Weasley from Harry Potter.
AR: Can we get a selfie?
Music legend and LGBTQ icon Cher pays tribute to the music of ABBA following global mega-success of Mamma Mia! Here We Go Again.
The one and only LGBTQ goddess Cher will be releasing Dancing Queen, a new album of all ABBA hits on September 28, 2018, which was officially announced August 9 by Warner Bros. Records. Those who pre-order the new album will immediately receive Cher’s rendition of the song “Gimme! Gimme! Gimme! (A Man After Midnight).” You can listen to the official audio below.
The Oscar, Emmy, and Grammy Award-winning icon was inspired to record the album following her stunning performance in the recently-released mega-hit film, Mamma Mia! Here We Go Again.
Commented Cher: “I’ve always liked Abba and saw the original Mamma Mia musical on Broadway three times. After filming Mamma Mia! Here We Go Again, I was reminded again of what great and timeless songs they wrote and started thinking ‘why not do an album of their music?’ The songs were harder to sing than I imagined but I’m so happy with how the music came out. I’m really excited for people to hear it. It’s a perfect time.”
Dancing Queen was recorded and produced in London and Los Angeles with Cher’s longtime collaborator Mark Taylor, who previously produced Cher’s global smash “Believe” which was number one in over 50 countries.
The track listing for Dancing Queen previously announced on Cher’s twitter is listed below.
Cher is scheduled to be awarded a Kennedy Center Honor on December 2nd in Washington DC. She is a co-producer of The Cher Show, the upcoming Broadway musical opening on December 3rd and will be touring Australia and New Zealand in September. She is currently performing a residency at MGM Resorts. Get tickets HERE!
Dancing Queen Tracklisting:
1. Dancing Queen
2. Gimme! Gimme! Gimme! (A Man After Midnight)
3. The Name Of The Game
6. Mamma Mia
9. The Winner Takes It All
10. One Of Us