Cher's public image is also reflected in her music videos and live performances, in which she "repeatedly comments on her own construction, on her search for perfection and on the performance of the female body", wrote Tasker. Unlike other acts of that time, who often featured female backers mimicking the singer's performance, Cher uses a male dancer dressed as her in the 1992 concert video "Cher at the Mirage"; author Diane Negra commented, "In authorizing her own quotation, Cher acknowledges herself as fictionalized production, and proffers to her audience a pleasurable plurality." James Sullivan of the "San Francisco Chronicle" wrote that "Cher is well aware that her chameleonic glitz set the stage for the current era of stadium-size razzle-dazzle. She's comfortable enough to see such imitation as flattery, not theft." American singer Pink, who is recognized by her acrobatic stage presence, started studying Aerial silks after watching Cher's in 2004.