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"Loving you baby is a dirty job, but somebody's gotta do it"


May, 2009
By Thomas Saitoti
  Barthe Cortes is the strongest element of her promotion

The lights turn dark, signalling that the show is about to begin. Large screens on both sides of the stage also go off. The intro begins shyly at first, with demure music on the violins. The tension builds up. The first notes of The Beat Goes On are soon replaced with rhythmical tick-tock, tick-tock, tick-tock.
The show will start any moment now; the beat gradually turns deeper; soon the audience can see a group of dancers surrounding Sahara who is sitting in the chair backwards, wearing a stunning, sexy dress. She begins to sing The Beat Goes On. Soon, an old school car appears on the stage and everybody is getting in it, continuing the sexy, thrilling dance. The image of D'Souza wearing a business suit flashes on the screens, encouraging everybody: So get down, beep beep, gotta get up outta your seat. The audience goes euphoric. After a while, however, there comes a time for a short break: Sahara disappears and soon returns wearing a sexy lady business suit; she puts on a white hat and goes to the back of the stage where her guitar is waiting. Time has come for the song which gave the name to the whole show: "...loving you babe 's a dirty job, but somebody's gotta do it".

This sensual, horny rock ballad makes one wonder that perhaps Sahara chose the song because she wanted to say: "...loving you, Barthe 's a dirty job, but somebody's gotta do it"? It's quite probable, as Sahara confessed to Drump magazine that the choice of the songs for her shows often works as a sort of a diary record for her. Some comment nastily that Sahara makes such suggestions to the media on purpose, as she has long time ago discovered that her relation with Barthe Cortes is the strongest element of her promotion. The press is hungry for even the tiniest pieces of information on the business life of Cortes, not to mention his private moments; he has never given any interview and never objected to anything written about him. He has never confirmed anything, either, so he still remains a puzzle for the media. Some consider him to be a non-conformists, other - an excellent businessman and an outsider who, according to leaks from anonymous sources, has often made donations to various hospitals, schools and foundations; some suspect him of revolutionary ideas. Others mention his unusual ties with terrorist groups. However, with Barthe "you never know anything for sure, but you cannot rule out anything as well." His life is mysterious and full of controversial moves.

Anyway, let us get back to Sahara and the show. The loudspeakers encourage the audience: "c'mon, c'mon, c'mon!" starting the most mystical moment of the evening. This part of the show is full of musical and visual surprises which introduce reflexive mood. Twenty dancers on stage perform an amazing dance authored by Sahara, which leaves one speechless and in awe of the skill and talent of the artist. The show ends with a moody and dark remake of Madonna's The Devil Wouldn't Recognize You. The dancers are wearing leather costumes and dance in the light of a bonfire to the deep sound of tam-tams. At the last beat on the drums, the lights go off and the screens display a message: "Game Over".

This is still another extraordinary and daring show of Sahara, full of symbols and eroticism. Some of the people living here, in Africa, love her for it, others despise her. And what does she herself say to it?

"I am simply myself. I am not afraid of people's opinions. I would be afraid of only one thing: of being unable to live my life to the fullest."

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