May 2, 2005 |
There were acrobats, a dancing elephant, fireworks and an explosion of confetti, plus film clips, moving staircases and a succession of wig hats. There were screaming fans, belly dancers, sailor caps tossed onstage, and in the middle of it all, there was Cher. On Saturday night, Cher completed her three-year, 325-stop "farewell tour" at the Hollywood Bowl, playing to a sold-out crowd of nearly 18,000.
April 28, 2005
It seems like only yesterday, but it was actually in August 2002 that Cher ostensibly said bye-bye to her hometown fans as part of her farewell tour. But she just couldn't stop herself -- the buses kept rolling, and now here she is again, promising that this weekend's shows really, really are her final concerts.
February 1, 2005 |
After concerts across the U.S., Europe, Mexico, New Zealand and Australia, Cher is bringing her three-year, 325-show "Farewell Tour" to a close at the Hollywood Bowl on April 30. The 58-year-old pop star made her first tour appearances in Mexico City and Russia, where she performed in St. Petersburg and at the Kremlin. Tickets to the Hollywood Bowl show will go on sale Monday.
February 19, 2004 |
Illusion of Safety's "Thermonuclear Holy War" is blasting on a CD player. Five women are popping and locking and whipping their heads around as if on crystal meth. And when hip-hop choreographer Tabitha D'umo, newsboy cap perched jauntily atop her long, curly hair, asks the girls to slide forward on one knee at an equally lightning-fast clip, they get down with it. Welcome to "Stabbing the Classics," a collaborative effort bowing tonight at Hollywood's Open Fist Theater.
October 23, 2003 |
Cabaret, in recent years, has often seemed to be little more than a genre for the preservation of the Great American Songbook, with a few similarly styled contemporary numbers thrown in for good measure. Nothing wrong with that, of course, given that the songs of Gershwin, Kern, Porter, Rodgers & Hart et al are among the creative treasures of American culture.
April 10, 2003 |
Cher's "farewell" concert special delivered sizable ratings for NBC on Tuesday, averaging an estimated 16.6 million viewers -- surpassing recent Celine Dion and Faith Hill specials and posting the network's highest rating with entertainment in the time slot in 2 1/2years. ABC's "NYPD Blue" also returned after a hiatus, averaging almost 11 million viewers despite the stiffer-than-usual competition. -- Brian Lowry
November 16, 2002
I was disgusted by Hillary Johnson's column on Keith Richards and Cher ("Keith Richards and Cher: Two Extremes of Aging Ungracefully, Nov. 12). Perhaps the shallow Johnson will print photos of herself so that we can be sure she's not "impaired" and "willfully ugly," as she claims Richards is, or a "runaway replicant" and "tragic figure," as she blames Cher for being. And while she's at it, please have Johnson list her many accomplishments toward art and culture, which I'm sure she must have to point her poison pen at such monolithic targets.
November 12, 2002 |
Similar signs might have presaged the fall of the Roman Empire. It was nothing but an interesting juxtaposition on the newsstand: Cher on the cover of Good Housekeeping, looking like an ersatz Barbie doll, and a few covers down, a shirtless Keith Richards on the cover of Rolling Stone, looking every bit a prehistoric reptile.
September 1, 2002
Robert Hilburn's Perspective on Cher amounts to hot air and would be nullified by the vast majority of those in attendance at her farewell show at Staples ("Written Off ... Unfairly?," Aug. 18). An air of excitement, joy and hope filled the venue as thousands jumped to their feet as the very professional production showed us a run-through of a great entertainer's long career. Maybe she is not Streisand, but the girl entertains and adapts to the times as few can do. If Hilburn got excited during only one song, he probably should have skipped the show and let another person experience the totally satisfying stage show.
August 29, 2002 |
Listening to death-metal prog-pop synth-rockers Deadsy, you have to wonder how the group conceived the sonic fusion behind such slammingly catchy numbers as "The Key to Gramercy Park," in which a prep-school worldview meets Deicide, Rush and Duran Duran. Or, perhaps, you wonder why they created such a decidedly campy and--to some--annoying hybrid. But it makes sense when you talk to Deadsy's frontman, singer-guitarist Phillips Exeter Blue I, better known to his folks as Elijah Blue Allman.