If you're tired of listening to "I Got You Babe" on an endless loop (talking to you, Phil Connors) you can finally rest easy because Cher is releasing her first new album in 12 years. According to Billboard, it was announced at their 2012 Women in Music event last week that the 66-year-old icon will have a new studio album — her first since 2001's Living Proof (which included the hit single "Song for the Lonely") — slated for a March 2013 release.
Apparently Cher wasn't kidding when she released the 2011 hit single "You Haven't Seen the Last Of Me" (so much for those multiple farewell tours!), as she has already released her first track for the eagerly anticipated new album, the dance-friendly anthem "Woman's World." You can listen to it here.
The star, who is also slowly but surely in the process of bringing a show to Broadway, recently responded to a fan's request on Twitter to what the new, unnamed album sounded like. The singer likened the new record to her Grammy-winning, chart-topping smash 1998 album Believe and described it as "Eclectic! Lots of dance, but None r SAME KIND OF DANCE! Have Big ass Choruses, Some HEART RIPPERS!"
Cher joins a long lineage of musical un-retirees such as Celine Dion, Jay-Z, and 50 Cent, so there's hope for you yet, fans of Phil Collins, Lupe Fiasco, or Lil' Wayne! It ain't over til they really, truly decide it's over.
[Photo credit: Tim Mosenfelder/Getty Images]
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There are distinct echoes of Alan Alda’s The Four Seasons and Lawrence Kasdan’s The Big Chill here as the film focuses on four couples who have been friends since their college days. Periodically they get together and ask themselves the title question as they re-examine their relationships. There’s Janet Jackson as Patricia the college lecturer whose best-selling book is based on her friends’ relationships. Patricia and her husband Gavin (Malik Yoba) are trying to hold their marriage together after the loss of their young son in a tragic car accident. The cocky Mike (Richard T. Jones) flaunts an adulterous relationship in front of his insecure overweight wife Shelia (Jill Scott) who is completely oblivious to the deception. Terry (Perry himself) is a successful pediatrician trying to convince his wife Diane (Sharon Leal)--a successful attorney in her own right--to have more kids. Marcus (Michael Jai White) a former pro football player merely tries to get through the day without a tongue-lashing from his acerbic wife Angela (Tasha Smith) a woman not known for keeping her opinions to herself regardless of how appropriate the circumstances. All of them find themselves confronting career demands family demands infidelity incompatibility and mistrust--all while drinking far too much wine. Needless to say before their get-together is over a number of secrets will be divulged and each couple will find their relationships shaken to their respective cores. Forgoing the housedress of his cinematic alter-ego “Madea ” Perry proves an affable screen personality quite relaxed within the ensemble. Jones doesn’t go out of his way to make Mike in any way likable which makes his one of the more memorable and clearly defined characters in the entire cast. Although Smith gets all the sassy lines White easily steals their scenes together with a surprisingly appealing comic turn. Hunky Lamman Rucker plays a dreamboat sheriff who finds himself drawn into this ever-shifting circle of friends. The women have a tougher go of it with Jackson giving a tremulous performance that makes her character almost disappear into the background. Yoba is also low-key although more affectingly so as her onscreen spouse. Leal does what she can with the stock role of a career woman who takes her home life for granted but she fares better than Scott whose crying scenes--and there are more than one--ground the story to a halt. All told however the ensemble cast has an easy and relaxed chemistry together which keeps the film--as soapy as uneven as it often is--afloat throughout. Tyler Perry doesn’t open up his stage play to any major degree preferring to leave the emphasis on characters and dialogue--both of which incidentally he has created. Perry tends to approach these intricate topics with broad (but not irrelevant) strokes but he’s not about to tamper with a successful formula. Like most of Perry’s previous films (Diary of a Mad Black Woman Madea*s Family Reunion et. al.) Why Did I Get Married? runs on a bit and overstates its case but its heart’s in the right place.