"I relate to this so hardcore," Clarkson told Rausch, noting she won "American Idol" Season 1 in 2002 when he was likely not yet born. She explained that the show promoted a $1 million prize, but clarified it was "a million dollars worth of investment in you," referring to the recording contract she ultimately signed with RCA Records, in partnership with "Idol"'s 19 Recordings. Following her win, Clarkson achieved commercial success with multiple top-ten singles, platinum albums, Grammy Awards, and Emmy Awards.

However, the car portion of the prize never materialized for Clarkson, who said she desperately needed it at the time because her own vehicle was damaged and she could not afford the insurance deductible. "And then they said you get a car... And then, no! I did not get a car!" she recounted. Clarkson highlighted the disparity by recalling how "American Idol" Season 2 runner-up Clay Aiken and his mother each received cars, prompting her joking frustration: "I was like, ‘What the f***?’... I’m gonna actually kick your ass right now."

Season 4 winner Carrie Underwood, now a judge on the show, confirmed she received her prize car—a Ford Mustang convertible—and still owns it. In a 2023 interview on "Today's Country Radio with Kelleigh Bannen", Underwood described driving the car after moving to Tennessee as a pivotal moment in her career. Clarkson returned to her daytime talk show on March 9, 2026, after a brief hiatus.

This disclosure arrives as Clarkson announced the end of "The Kelly Clarkson Show" after its seventh season this fall, citing a need to prioritize her family. She shares daughter River and son Remy with her late ex-husband Brandon Blackstock, who passed away at age 48 in August 2025. "Stepping away from the daily schedule will allow me to prioritize my kids, which feels necessary and right for this next chapter of our lives," Clarkson wrote in a February 2, 2026, Instagram statement.

The story has sparked online discussions about prize fulfillment in reality competitions, though no official response from "American Idol" producers has been issued as of March 12, 2026. While the event lacks direct LGBTQ+ community responses in initial coverage, Clarkson has long been an affirming ally, supporting transgender people and other LGBTQ+ identities through public statements and performances. Fans in LGBTQ+ spaces on social media have praised her candor, drawing parallels to broader themes of corporate accountability relevant to queer artists in entertainment. No specific impacts on LGBTQ+ communities have been reported from this revelation, as it centers on Clarkson’s personal experience from the show's early years.

Colin Dorgan was on the ice with his teammates when his mother and brother, Rhonda Dorgan and Aidan Dorgan, were killed in a targeted attack during a Feb. 16 hockey game in Pawtucket, Rhode Island. A third victim, Colin Dorgan's grandfather Gerald Dorgan, later died from his injuries, and two others were severely injured.

Police have identified the shooter as Robert Dorgan, who died from an apparent self-inflicted gunshot wound. Robert Dorgan also went by the names Roberta Esposito and Roberta Dorgano, authorities said.

After the shooting, all Rhode Island high school sports were postponed for a week. However, Blackstone Valley returned to the ice for the first time since the fatal attack earlier this month, with players donning hearts stitched on the front of their jerseys with the initials of all three who died.

After securing a playoff victory on March 7, Blackstone Valley defeated Portsmouth 3-2 on Wednesday with Colin Dorgan scoring on a breakaway in double overtime.

“It was the greatest moment of my life,” Dorgan told WPRI-TV.

Officials have said the shooter was specifically targeting family members.

Law enforcement have credited several people who intervened and quickly stopped the attack. At least three bystanders were able to contain the shooter in the middle of the stands as the crowd fled and ran around them.

Rhonda Dorgan’s mom, Linda Dorgan, and a family friend, Thomas Geruso, were also wounded.

The season opens on May 24 with six-time Tony Award winner Audra McDonald, celebrated for her roles in Gypsy, Porgy and Bess, Carousel, and Lady Day at Emerson's Bar and Grill, as well as her work in HBO's The Gilded Age. She will perform with music director and host Seth Rudetsky, known for Sirius/XM's Seth's Big Fat Broadway and On Broadway.

Following on July 5 over the 250th Independence Day weekend, Megan Hilty takes the stage. Hilty is recognized for her breakout role in NBC's Smash, her Tony-nominated performance as Madeline Ashton in Death Becomes Her, and her Drama Desk-winning turn in 9 to 5: The Musical, accompanied by pianist Matt Cusson.

Emmy and Grammy nominee Cheyenne Jackson, an openly gay performer known for Broadway's Once Upon a Mattress and Into the Woods, as well as films like United 93 and Behind the Candelabra, brings his Mid Life Torso Tour to Town Hall on August 2. The intimate cabaret-style concert includes hits from Lady Gaga, Elvis Presley, and Sam Cooke, alongside original music and personal stories, showcasing his comedic and vocal talents.

On August 16, RuPaul's Drag Race Season 6 winner Bianca Del Rio, a drag queen often called the "Joan Rivers of the Drag World" by The New York Times, delivers a one-night comedy performance. Del Rio's appearance underscores the series' appeal to drag enthusiasts and the broader LGBTQ+ community.

Tony-nominated Melissa Errico follows on August 23 with her debut Provincetown concert, The Streisbar Effect, celebrating Barbra Streisand's influence, accompanied by pianist Billy Stritch. The season closes August 30 with Grammy nominee Marilyn Maye, nearing 98, in her 15th consecutive summer appearance. Dubbed "the greatest white female singer in the world" by Ella Fitzgerald and "The Taylor Swift of Cabaret Singers," Maye performs with Tedd Firth.

Cortale, who launched live entertainment at The Art House in Provincetown in 2011, recently produced the London premiere of Beautiful Little Fool and the Broadway run of Floyd Collins. This marks the 15th season of his star-driven programming at Town Hall, Provincetown's largest entertainment venue. Tickets and information are available at PtownTownHall.com, with a 2026 Season Pass offered at a 10% discount if purchased by May 24, guaranteeing VIP front-section seats selected on a first-come, first-served basis.

Provincetown has long been a haven for LGBTQ+ artists and audiences, fostering events that celebrate queer talent like Jackson and Del Rio. Past lineups have included other prominent LGBTQ+ figures such as Neil Patrick Harris, reinforcing the town's role as a cultural hub. The series aligns with Provincetown's legacy of inclusive entertainment, drawing diverse crowds to Cape Cod for intimate performances that blend Broadway excellence with personal storytelling. While primary coverage centers on BroadwayWorld and Playbill, both dated March 11, 2026, additional context from TheaterMania and Times Square Chronicles confirms the venue's history with queer-affirming stars, though deeper community responses remain forthcoming as the season approaches.

Opie's practice spans studio portraiture, documentary photography, and environmental studies, consistently exploring themes of social, political, and personal identity. A highlight is her seminal series "Being and Having" , which features intimate portraits of her LGBTQ+ friends, styled with the compositional authority of historical painters like Hans Holbein the Younger to challenge traditional notions of who deserves visibility in art.

In a March 11, 2026, PinkNews interview, Opie reflected on the radical nature of the exhibition for a butch lesbian artist in a venue rooted in aristocratic portraiture. She emphasized how her portraits elevate everyday LGBTQ+ individuals—friends, activists, and community members—beyond celebrity or nobility, fostering a broader understanding of identity through being seen. "I would like to thank the National Portrait Gallery for this incredible honor of presenting my work in London. My hope is that the audience will leave the exhibition with a broader understanding of what portraiture can achieve – that in our culture of creating portraits of known nobility and a kind of celebrity, that everyone begins to understand identity through being seen," Opie stated.

The show traces Opie's evolution, including documentation of queer communities in Los Angeles, American political events like Barack Obama's inauguration and LGBTQ+ rights protests, and personal scenes of family and self-portraiture. Her measured, documentary-style approach resists spectacle, building layered narratives of civic and personal life that connect private experiences to broader social history. Installed in dialogue, the portraits juxtapose artists, children, and strangers, prompting visitors to reconsider historical exclusions in portraiture, particularly for marginalized LGBTQ+ people.

Opie has described portraiture as inherently political, a tool to record shifting cultural contours and affirm belonging for queer communities. In a livestreamed conversation at the gallery, she introduced the exhibition, underscoring its role in expanding representation. For transgender people, lesbians, gay men, and other LGBTQ+ individuals historically sidelined in fine art, Opie's work offers affirming visibility in a prestigious institution.

The exhibition runs at the National Portrait Gallery, St Martin’s Place, London, until May 31, 2026, before touring to the National Galleries of Scotland at the Royal Scottish Academy in Edinburgh during summer 2026. This presentation positions Opie's photography as a bridge between historical portrait traditions and contemporary debates on identity politics, making it a significant moment for LGBTQ+ art in the UK.

Opie's commitment to community shines through series like those documenting LGBTQ+ protests and intimate friendships, reinforcing the exhibition's message of radical inclusion. By ennobling queer subjects in a space once reserved for elites, the show challenges ongoing barriers to representation for butch, lesbian, and broader LGBTQ+ artists. Visitors have the opportunity to engage with these themes through Opie's precise, human-centered lens, which continues to influence global conversations on visibility and belonging.

Minnelli describes being "quickly swept up in a passionate romance" that became "amour fou," a French term for a self-destructive obsession. She writes that the affair was "the worst-kept secret on the set," with both parties soon turning to cocaine use on and off set. "Marty became a heavier and heavier user of cocaine," Minnelli recounts. "It seemed that it was no longer recreational for either of us. It was day and night." At the time, Minnelli was married to her second husband, producer Jack Haley Jr., whose father had played the Tin Man in "The Wizard of Oz" alongside Garland; Scorsese was wed to writer Julia Cameron, whom he divorced that year.

The production of "New York, New York" faced significant challenges, running over budget from $9 million with an additional $2 million in costs and taking 22 weeks instead of the planned 14; it ultimately flopped critically and commercially, recouping $16.4 million. Minnelli portrays the affair as a "runaway train," stating, "Nothing good could come of it." Tensions escalated post-filming when Scorsese publicly confronted Minnelli in Greenwich Village over her affair with Russian dancer Mikhail Baryshnikov, screaming, "How can you do this to me?" in front of Haley. Minnelli and Haley divorced in 1979.

The relationship extended into professional territory when Minnelli hired Scorsese to direct her Broadway musical "The Act", but out-of-town reviews were scathing, and she ultimately fired him, a decision she said "damn near killed me and broke my heart." Minnelli notes Scorsese was "exhausted" from "a steady diet of hostility and substances," leading to a hospitalization that prompted him to quit drugs and alcohol, paving the way for his later successes like "Goodfellas". In 2014, at the Academy Awards, Scorsese turned away when Minnelli approached, with her reflecting, "Not all of the bad feelings have healed. Very sad."

For LGBTQ+ communities, Minnelli holds iconic status as a gay ally and performer whose mother, Judy Garland, is a enduring figure in queer culture; her candid memoir underscores the entertainment industry's historical struggles with addiction and infidelity, themes resonant in LGBTQ+ narratives of resilience amid personal turmoil. The revelations, drawn from Minnelli's firsthand account, offer insight into the human costs of fame without endorsing or sensationalizing the events.

Noticing a man in a cowboy hat with a substantial stack of chips, Handler approached him and asked, “Hey, buddy, can I borrow $1,000? I’m gonna start winning right away.” The man promptly agreed. After winning back her losses, Handler repaid the $1,000 and jokingly gave him an extra thousand as "interest" before reclaiming it, quipping that he didn’t actually deserve it.

The following day, Handler’s friend Terrence—who had observed the chemistry between them—shared her phone number with the man. This led to a text exchange where Handler "tested" him by sharing her upcoming Antarctica travel itinerary; he immediately booked a ticket to meet her there for their first official date. While Handler affectionately refers to her partner as "Cowboy," she has declined to disclose his full legal identity.

She described the romance as ongoing, stating, “I’m still going strong with this guy. It’s hot, and a woman like me needs a big move like that.”

This disclosure coincides with Handler’s return to her monthly comedy residency at The Chelsea theatre, which she launched in September 2024 as the venue’s first female comic resident headliner, following an approach by Live Nation Las Vegas. She emphasized that the story remains personal and off-limits for her stand-up routine, reserving it for interviews: “That’s a personal story. I don’t talk about it on the stage, only to reporters.”

Handler’s candidness about her romantic life aligns with her history of openness in her comedy and media appearances, often blending personal anecdotes with humor. Beyond the residency, she is launching her High and Mighty U.S. tour and developing a Hulu series titled Townhouse. The story has garnered attention across entertainment outlets, highlighting Handler’s spontaneous approach to relationships amid her busy professional schedule.

'Washed Up' follows Morwenna, an aspiring artist struggling in Cornwall, who encounters Inga, a selkie—a mythical being from Celtic folklore capable of shapeshifting between human and seal forms—leading to a romantic meet-cute on a beach. Daly, in a recent interview, describes the film as a "delightful debut" romantic comedy infused with mythology, drawing on selkie legends to explore sapphic love and self-discovery.

The film is scheduled for screenings on March 25 at 8:50 pm and March 28 at 12:45 pm during the festival. Daly's conversation with Diva magazine, published on March 11, 2026, delves into her creative process, highlighting how Cornish mythology inspired the narrative's blend of romance and fantasy. She notes the film's focus on a sapphic relationship, aligning with BFI Flare's mission to platform queer voices in cinema.

BFI Flare 2026 emphasizes diverse LGBTQ+ perspectives, with 'Washed Up' standing out for its affirming portrayal of lesbian romance through a mythological lens. The festival's programme also includes works like Paloma Schneideman's contributions, but Daly's film has drawn attention for its charming depiction of queer love amid supernatural elements. Independent queer media outlets have praised the selection for amplifying sapphic stories in cinema.

Daly's project emerges amid a growing interest in folklore-infused queer narratives, resonating with LGBTQ+ audiences seeking representation beyond mainstream tropes. The film's Cornwall setting evokes selkie tales traditionally exploring themes of freedom, identity, and forbidden desire—mirroring experiences of many lesbian and queer women navigating societal expectations. BFI Flare, organized by the British Film Institute, continues to foster such stories, providing a platform for emerging transgender people, lesbian filmmakers, and other LGBTQ+ creators.

This event underscores the vitality of LGBTQ+ independent film, with 'Washed Up' exemplifying how mythology can illuminate sapphic relationships. Festival-goers and online audiences anticipate its reception, as coverage from Diva magazine and others highlights its potential impact on queer cinema discourse. The programme's reveal on March 11, 2026, marks a key moment for visibility of such affirming narratives.

The 48-year-old digital imaging technician moved from Indiana to Georgia in 2017 as studios — lured by generous tax credits — turned Atlanta into the “Hollywood of the South,” the backdrop for hundreds of productions like “The Hunger Games,” “Stranger Things” and more than a dozen Marvel blockbusters.

Ratledge said the work was grueling — 70-hour weeks were normal — but the $72-an-hour pay was transformative. “I paid off three years of back taxes in one year, just from the money I made,” says Ratledge, who worked on the Netflix movie “Red Notice,” as well as shows like TBS’ “Miracle Workers” and Starz’s “P-Valley.”

Those times are long gone: Ratledge has worked just four days on set since May 2024.

Instead, he's been working part-time at the front desk of a local tennis center and stringing rackets on the side, trying somehow to support his family of four on $15 an hour without health insurance. His wife, a cancer survivor, has started cleaning houses a few days a week, and they've downsized their rental home. But their $2,000-a-month income hardly even covers their rent, a shortfall that has left Ratledge in debt and deeply depressed.

“All I want for Christmas is for my film career back,” Ratledge wrote on Instagram in December.

Georgia’s boom goes bust

After hitting a peak of $4.4 billion in 2022, spending on film and TV production in Georgia has tumbled, reaching just $2.3 billion in the last fiscal year, as total productions dropped from 412 in 2022 to 245 last year. The decline accelerated after the 2023 writers and actors strikes halted productions for months, dealing a blow to an industry still recovering from COVID-19 shutdowns.

“We saw a lot of productions start looking overseas, knowing that they wouldn’t have another work stoppage,” said Lee Thomas, the deputy commissioner of the Georgia Film Office. “We knew that it would be like a reset to the industry ... but it certainly was a bigger, harder fall than we anticipated — and longer.”

Marvel has left Georgia’s market — its last movie filmed there was 2025's “Thunderbolts” — and shifted its massive productions to the United Kingdom, where labor and production costs are cheaper. Streamers like Netflix are also increasingly filming abroad, while producing fewer shows in general. Other states, including California and Texas, have upped incentives to compete with Georgia’s tax credits, which can cover up to 30% of production costs.

Local industry Facebook groups are filled with complaints about a lack of work, with some people griping about well-established veterans taking up the few jobs available, said Monique Younger, an Atlanta costume supervisor. Younger says her work is less than half what it once was, making her “feel a little bit useless.”

Jen Farris, an Atlanta native and longtime location scout, said she used to reject offers because she had too much work. Now, she’s navigating two- or three-month gaps in between projects, forcing her to “watch her pennies.”

“You just pray that you have nested away enough to float a little bit,” she said.

Training crews for an uncertain future

Despite the bleak landscape, Shadowbox Studios, one of metro Atlanta’s largest soundstage operators, is betting on the area's future and has urged local filmmakers and industry leaders to rethink what’s possible.

Shadowbox has been pitching its mammoth spaces to everyone from indie filmmakers to content creators and esports organizers. But it also wants to make sure the city's crew base remains robust.

Atlanta has for years served as the country’s “antidote” to Hollywood blockbusters moving overseas, said Shadowbox COO Mike Mosallam, pointing to the city’s experienced crews, comparatively lower production costs, extensive soundstage space and diverse landscapes. Keeping that talent pipeline strong is key to keeping more productions from leaving, he said.

In November, Shadowbox hosted about 25 Black college students for Backlot Academy, a program launched in 2022 to diversify the ranks of professions where personal connections often determine who gets hired.

Veteran crew members taught the participants how to decipher call sheets, use walkie-talkie lingo and survive 12-hour days on their feet. Participants could enroll for free in a multiweek digital course on the ins and outs of production and get mentorship as they try to book their first gig.

Trainee Julian Williams grew up in Atlanta and watched his city become a playground for Hollywood. One of the “Alvin and the Chipmunks” movies was even filmed on his street. Now a 24-year-old digital media student at Georgia Piedmont Technical College, Williams is determined to break into the industry as a production assistant, with the hope of one day becoming an assistant director.

He's prepared to follow his film dreams wherever they lead, but for now, he’s betting on Atlanta and its collaborative film community.

“People are genuinely helpful and willing to share what they know,” Williams said.

Among those helping Williams and the other trainees was Joseph Jones, a Backlot alumnus who credits Shadowbox with helping him embark on a rewarding career as a production assistant. “It changed my life,” said Jones, 53, who spent years working in hotels but always knew he wanted to work on films.

But Shadowbox officials aren't downplaying reality: The industry is down, especially in Atlanta. On the day of the training, just one of Shadowbox's nine soundstages was booked for a production, said Jeremiah Cullen, director of sales.

Cullen said Shadowbox has been forced to adapt, cutting deals to meet filmmakers' budgets while frequently calling former clients to see how they can fit their needs.

“Hey, we miss you on the lot,” he tells them. “You got anything cooking?”

Searching for a reset

Ratledge grew up loving movies, too, especially when, as a 9-year-old, he saw his rural Indiana town of Milan immortalized in 1986's “Hoosiers.” He has continued to reach out to his network, but he's ready to move on.

Ratledge said he isn’t looking for a miracle — just one steady TV job that would give him breathing room to stabilize his finances and figure out his next move. A five- or six-month series, he said, would allow him to restore his health insurance, file for bankruptcy and “hit the reset button.”

“I don’t think I’m any different than the people who worked in Detroit when the auto industry collapsed in the '70s and everything went overseas,” he said.

It's a concern even President Donald Trump has weighed in on, calling last year for tariffs aimed at keeping film production in the U.S. — a plan that experts have called vague and impractical.

Thomas, of the Georgia Film Office, said that business is up significantly from the last fiscal year. She partially credits the rebound to a new state law that allows Georgia's tax incentives to apply to more types of productions, including short-form vertical videos and free ad-supported streaming channels like Tubi.

Some Atlanta veterans still see a path forward, including Farris, the location scout. She said too many talented, creative people are in Atlanta for it all to simply fade away.

“People moved their families here. They’re raising children here. This wasn’t just about film,” she said. “It changed our landscape — it brought in brilliant new minds. Artists. Creators. And I really believe Georgia will find a way to foster an entirely new wave of artistic possibility.”

The boundary-breaking Colombian performer has spent the last year on her first global tour since 2018, where she has made history: Nearly 20 years after her first concert in Mexico City 's Zócalo, the capital's main square, Shakira returned earlier this month to break the plaza’s attendance record with about 400,000 fans showing up to see her.

It's impressive for any artist and one that certainly backs up her reputation as the Queen of Latin Music. Across her three-decade-plus career, Shakira has set records and challenged genre lines: from 1991, when she signed a deal with Sony Music Colombia at just 13 years old and released her debut album “Magia” — to breakthrough albums like 1998's “Dónde Están los Ladrones?” and 2001's “Laundry Service” — all the way to her most recent, 2024's “Las Mujeres Ya No Lloran.”

But this year is different.

“I'm being able to make so many of my dreams, as an artist, come true on this tour,” she told The Associated Press over the phone on Tuesday. “It's everything I ever dreamt about.”

That's not all: In February, it was announced that she is a 2026 nominee for induction into the Rock & Roll Hall of Fame — a logical selection for an artist lauded for her ability to bridge Latin music with rock and pop.

If she were to be inducted, she would join a small class of Latinos who have done so. She would become the first artist from Colombia, as well as the first Latina born and raised in Latin America, to enter the Rock Hall.

In an interview with the AP, Shakira discusses her history-making Mexico City show, her Rock & Roll Hall of Fame nomination, her next big goal and more.

This interview has been edited for clarity and brevity.

AP: Your Zócalo concert was massive. What was going through your mind?

SHAKIRA: That's such a unique moment in time. After playing 13 stadium concerts in Mexico City, I never thought I was gonna have so many people gathering at Zócalo to watch my show one more time. It was just absolutely incredible. And one of those experiences that are unforgettable and that I wish my parents could have seen. That was just really, really, truly magical.

The love and friendship story that I have with Mexico is just uncanny, you know? Nothing compares to it, and it’s given me so much. My Mexican fans have given me so much of love and support since the beginning of my career. It was quite incredible also to be able to perform “Dónde Estás Corazón,” which was (my) first song that ever played on Mexican radio, like outside my country, you know? And so that was like a full circle moment.

AP: You're also headed to the Pyramids of Giza for the first time in nearly 20 years.

SHAKIRA: It was just one of the most unforgettable performances of my life, and I just wanted it to happen again with this show, with this tour, which to me is the tour of my life. … I actually feel like I’m just starting my career. It’s a weird feeling because it’s been 30 years, but I feel at the threshold of a new beginning and that is all because my audience has been so emotive and so loyal as well. I’ve had a blast really performing in every country, every city where we’ve been. And the next thing is going to be Copacabana (Beach in Rio de Janeiro) as well.

We’re gonna have probably two million people on the beach, so that’s gonna be pretty crazy, I’m sure.

AP: When I think of the beginning of your career, I think of your rock records. And this year, it was announced that you're a nominee for Rock & Roll Hall of Fame induction.

SHAKIRA: I feel really humbled and excited at the same time. It's incredible to be nominated for the Rock & Roll Hall of Fame and a little bit surreal as well. You know, I've experimented with different genres in my career, but I started out as a rock artist and continued to make rock. My last album, “Las Mujeres Ya No Lloran,” there are rock tunes like “Tiempo Sin Verte” or “Cómo Dónde y Cuándo” and every album there are rock tunes because that’s an intricate part of my artistic persona. And everything that I listen to is rock music. So, to be nominated, for the Rock & Roll Hall of Fame, knowing that there are so many incredible icons of rock music that I adore, that inspired me, like The Rolling Stones (are in there) … to me, it is just a privilege and really an amazing moment in my career.

I don’t know what’s going on. But this year, like, all my wishes are coming true and I think this nomination is one of those things that you probably fantasize about sometime in your career but try not to get too fixated on it. Being nominated is a huge deal for me and my fans who followed my rock career.

AP: What does it mean for your community — for Latinos, for Colombians?

SHAKIRA: I feel very proud as a Latina. I feel like, “Oh damn, I don’t know how many Latinos are there, or Latinas, or at least Colombians.” I think it might be the first time for a Latino woman, someone born and raised in Latin America, you now, but who is loved and has been devoted to rock ‘n’ roll since I was, I don’t know, 15. Yeah.

I've been listening to rock music and that’s how I started my career as well. So yeah, it’s just pretty surreal, I gotta say. But I'm very happy for my community as well. I'm happy to feel that I’m representing a part of my community there.

AP: You've said your dreams have come true this year. What's left on the list?

SHAKIRA: I don’t know what’s going on! But this year, all of those dreams I had way, way back, now they’re coming true. So, I’m going to just ask for more. I’ve always thought it would be pretty crazy to sing at the Eiffel Tower or the Champs-Élysées in Paris. That would be like the ultimate concert as well. But you know, I can’t complain. Being in Copacabana this year and the (Giza) Pyramids in Egypt and in Zócalo, that fills my heart. I feel so accomplished as an artist this year, but I’m also so pumped. I really am in love with making music and performing that music, and it’s brought so much joy to my life again, after the difficulties that I’ve been through and bitter moments that I had to endure — like every human being who goes through hardship.