Lauper, Cyndi

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    Cyndi Lauper Could Only Ever Be Herself

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    One Friday afternoon in May, Cyndi Lauper stepped out of her Upper West Side apartment building and into the streets of New York City. She wore glitter-encrusted glasses, sneakers with rainbow soles and a stack of beaded bracelets on each arm. A rice-paper parasol swung in her hand. As she walked, she examined the crowds and remarked when glints of interest caught her eye.“Of course, up here it’s fashion hell,” she allowed of her tony neighborhood. And yet, every few blocks she rubbernecked at another woman’s look, her famous New Yawk accent lifting and tumbling in pleasure at what she saw:“Look at these dames, how cute are they?”“Did you love those pants? I kind of loved those pants.”“Look at this lady,” she said, stepping off the curb and clocking a passerby. The woman moved nimbly, tomato-red streak in her silver hair, body draped in shades of fuchsia and cherry as she pushed the gleaming metal frame of a walker. “Fabulous,” Lauper exclaimed. “Come on!”At 70, the pop icon and social justice activist isn’t just charging back into the streets. On Monday, Lauper announced her final tour, the Girls Just Wanna Have Fun Farewell Tour, which will have her headlining arenas across North America from late October to early December. And “Let the Canary Sing,” a documentary about her life and career that premiered at the Tribeca Festival last year, is streaming on Paramount+.Lauper has not staged a major tour — “a proper tour, that’s mine” — in over a decade. But now her window of opportunity is closing, so she’s leaping through it. “I don’t think I can perform the way I want to in a couple of years,” she said. “I want to be strong.”Lauper photographed at the Scarlet Lounge on the Upper West Side, the Manhattan neighborhood where she lives with her husband and two pugs.Thea Traff for The New York TimesAnd until recently, when she finally agreed to sit for the director Alison Ellwood, she could not envision committing her life story to film. “I wasn’t going to do a documentary because I’m not dead,” she said. More to the point, she did not feel particularly misunderstood. From the moment she danced across the city in the 1983 video for “Girls Just Want to Have Fun,” she felt that she had articulated precisely what she wanted to say.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How ‘The Greatest Night in Pop’ Got the ’80s Right

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      The Netflix documentary revels in nostalgia. But the heart of the film spotlights the relationships between the pop superstars who recorded “We Are the World.”The title of Netflix’s new documentary “The Greatest Night in Pop,” which chronicles the recording of “We Are the World,” is a little mystifying. Pop music needs a big audience, but what happened inside A&M Studios in Los Angeles, in the vampire hours between 10 p.m. on Jan. 28, 1985, and 8 a.m. the next day, was seen by only 60 to 70 people in attendance, from Michael Jackson to a small film crew. The song that resulted in this frantic, logistically improbable session is stirring but callow, with a gospel-style chord progression that gives false weight to the platitudinous lyrics.Prince, who declined repeated entreaties to join the ensemble, sat it out because he thought the song was “horrible,” according to the guitarist Wendy Melvoin. It sold over 20 million copies, with some fans reportedly buying multiples less out of enthusiasm for the music, it seems, than a desire to donate money toward feeding Ethiopians, who were in the midst of a famine that reportedly killed as many as 700,000 people. The song won four Grammys, including song of the year, but almost 40 years later, it has all but vanished from view.But now, “We Are the World” and the private machinations that went into writing and recording it are up for reconsideration, thanks to the documentary, which was viewed 11.9 million times in its first week of release last month, topping Netflix’s list of English-language films. “The Greatest Night in Pop” earns its swaggering title in two ways. Until someone invents a time machine, it’s the greatest way to see what the mid-1980s were about, thanks to a parade of stylistic and technological hallmarks, and even anachronisms: big hair, cassette tapes, primary colors, satin baseball jackets, leather pants, leotards, fur coats, perms, walkie talkies, even a Rolodex. (Cassettes, unlike perms, have made a comeback.)It’s also a wonderful illustration of the old maxim that show business is about relationships. The “We Are the World” session brought together most of the singers who made 1984 “pop music’s greatest year,” as many have called it, and benefited from an unrepeatable set of variables. The chain of action that preceded that night was, the film shows, all about calling friends, calling in favors and cannily casting the song with a broad demographic appeal. Here’s a look at how a few accomplished musicians and one relentless manager organized a gala event in only four weeks.Harry Belafonte and Ken KragenThe actor and activist Harry Belafonte, left, approached Ken Kragen, the artist manager, with an idea for a benefit concert.Reed Saxon/Associated PressHarry Belafonte, the singer, actor and civil rights activist, wanted to draw attention to the famine in Africa, and he approached Ken Kragen, one of the industry’s most high-powered artist managers. Belafonte had seen how much money the Irish singer Bob Geldof was raising for famine relief with the “Do They Know It’s Christmas?” single, and proposed a benefit concert. Kragen had a different idea: “I said, ‘Harry, let’s just take the idea Bob already gave us. Let’s do it, but let’s get the greatest stars in America to do it,’” he recalls in one of the documentary’s archival interviews. (Kragen died in 2021.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Essra Mohawk, Self-Described Flower Child Singer-Songwriter, Dies at 75

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      She missed a shot at Woodstock glory. But she recorded well-received albums under her own name and worked with Frank Zappa, Jerry Garcia and others.Essra Mohawk, a prolific singer-songwriter and self-described flower child whose soulful, dreamlike songs captured the sunny optimism of the Woodstock era, and whose varied career included performing with Frank Zappa and Jerry Garcia and seeing one of her songs turned into a hit single by Cyndi Lauper, died on Dec. 11 at her home in Nashville. She was 75.The cause was cancer, her cousin Jeff Hurvitz said.Over the course of a career that lasted more than a half century, Ms. Mohawk never achieved the fame of contemporaries like Joni Mitchell, Carole King or Laura Nyro (to whom she was often compared). And she missed a chance at hippie immortality when her driver took a wrong turn on the way to the Woodstock festival in 1969.“We got there in time to see the last verse of the last song of the last act of the first night, and then the stage went dark before we got to it from the parking lot,” she recalled in a 2009 video interview.Still, Ms. Mohawk made her mark. Her album “Primordial Lovers,” produced by her husband, Frazier Mohawk, and released shortly after Woodstock, was met with critical praise. In 1977, the rock critic Paul Williams wrote in Rolling Stone that it was “firmly on my list of the top 25 all-time best albums.”While still in her teens, Ms. Mohawk was briefly a member of Frank Zappa’s anarchic band, the Mothers of Invention.via YouTubeShe recorded more than a dozen albums over the years, and, early in her career, served a stint as a member of Frank Zappa’s iconoclastic band, the Mothers of Invention.In the 1970s, Ms. Mohawk sang memorable songs like “Sufferin’ Till Suffrage” and “Interjections!,” for “Schoolhouse Rock!,” the series of animated educational shorts that was a Saturday morning television staple for the children of Generation X.In the early 1980s, she carved out a small place in Grateful Dead lore by touring with one Dead side project, the Jerry Garcia Band, and helping write a song, “Haze,” for another, Bob Weir’s Bobby & the Midnites.Ms. Lauper’s exuberant rendition of her song “Change of Heart” shot to No. 3 on the Billboard Hot 100 in 1987. Two years later, Tina Turner released a version of Ms. Mohawk’s “Stronger Than the Wind.”Ever dogged about finding an audience for her work, Ms. Mohawk even appeared in 1977 on “The Gong Show,” the campy showcase of amateur talent hosted by the colorful Chuck Barris, in which acts deemed flops were dispatched with the strike of a large gong.Some audience members jeered during Ms. Mohawk’s performance of her “Appointment With a Dream,” which involved her own ethereal take on scat singing. Still, she received two scores of 8 (out of 10) and one of 7 from the panel of three celebrity judges.“No, I wasn’t gonged, thank goodness,” Ms. Mohawk wrote in a 2016 post on the blog Rockasteria. “In fact, I scored a 23, my lucky number, but I came in second to a guy who played two saxophones at once.”Essra Mohawk was born Sandra Elayne Hurvitz on April 23, 1948, in Philadelphia, the younger of two children of Henry Hurvitz, a taxi driver, and Anne (Sosnow) Hurvitz, who worked at a beauty shop. She later adopted the name Essra, a twist on Essie, a nickname she picked up early in her career.Ms. Mohawk was married three times. No immediate family members survive. Her brother, Gary, died this year.By her early teens, she was already playing piano and filling notebooks with her songs. After graduating from George Washington High School in Philadelphia in 1966, she briefly attended the Philadelphia College of the Performing Arts before moving to New York to start a music career.That career got a jump start when she was 19 and she and a couple of friends were strolling down Bleecker Street in Greenwich Village and met Mr. Zappa. “Frank invited us all in to see his show for free,” she said in a 2003 interview. “We became friends, and it wasn’t long before he had an opportunity to hear me play my music. He asked me join the Mothers right on the spot.”Being a satellite in the Zappa orbit came with its Zappaesque quirks. The band’s lead singer, Ray Collins, “came up with the name ‘Uncle Meat’ at one of our rehearsals, telling Frank that he thought it was a great name for a rock star,” she recalled in an interview with the British site Zappanews. “Frank immediately spun around and, pointing at me, proclaimed, ‘You’re Uncle Meat!’”Displeased with the name, Ms. Mohawk wriggled out of it a few months later, so Mr. Zappa appropriated it as the title for a Mothers album in 1969.Mr. Zappa signed her to his label, Bizarre Records, and, under the name Sandy Hurvitz, she released her first album, “Sandy’s Album Is Here at Last!”She released her last, “The One and Only,” in 2019. But she never forgot the invaluable career boost she missed out on with that wrong turn on the way to Woodstock.“Had I played Woodstock, we all know how that would have changed my life,” she said in 2009. But, she acknowledged, perhaps that was a blessing: “Knowing me, being the feral child that I was, I would have had no restraint, and I would have been long dead.” More

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      Rock & Roll Hall of Fame: Willie Nelson, Missy Elliott and Sheryl Crow Nominated

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      Cyndi Lauper, Joy Division, George Michael and the White Stripes are also among the first-time nominees up for induction this year.Willie Nelson, Missy Elliott, Sheryl Crow, the White Stripes and Cyndi Lauper are among the first-time nominees for the Rock & Roll Hall of Fame this year, the organization behind the museum and annual ceremony announced on Wednesday.Artists become qualified for induction 25 years after the release of their first commercial recording; both Elliott, the trailblazing rapper, and the White Stripes, the defunct garage-rock duo, made the ballot in their first year of eligibility. (Because of changes in when the nominating committee meets, the Rock Hall said releases from 1997 and 1998 were eligible this year for the first time.)Nelson, who turns 90 in April, became eligible in 1987, and was inducted into the Country Music Hall of Fame in 1993. Last year, Dolly Parton at first protested her nomination, saying that she didn’t “feel that I have earned that right” as a country musician. (Voters disagreed, and she joined the Hall in November.) Crow, whose career began in the 1990s, has been eligible for several years, while Lauper, the singer behind hits like “Girls Just Want to Have Fun,” could have been nominated more than a decade ago.Among the 14 nominees this year, other first-time picks include: George Michael, the English singer-songwriter who died in 2016; Joy Division, the English rock band that became New Order in 1980 after the death of the group’s frontman, Ian Curtis; and Warren Zevon, the singer-songwriter whose work was beloved by performers like Bob Dylan and Bruce Springsteen and who died in 2003.More than 1,000 artists, historians and music industry professionals will now vote on the nominees to choose the final class of inductees, which typically include between five and seven musicians or groups that have increasingly over recent years spanned a wider mix of genres: rap, country, folk, pop and more.Will 2023 be the year for musicians who have been nominated repeatedly, to no avail? The politically minded group Rage Against the Machine is on the ballot for the fifth time. Kate Bush, whose song “Running Up That Hill (A Deal With God)” was resurgent on the charts last year after an appearance in the TV show “Stranger Things,” has been nominated three times before, as have the Spinners, one of the leading soul groups of the 1970s.The hip-hop group A Tribe Called Quest, the heavy metal band Iron Maiden and Soundgarden, a rock band that was ascendant in the ’90s and lost its singer Chris Cornell in 2017, have all been nominated once before.While an unnamed nominating committee within the Hall of Fame is in charge of choosing the slate of possible inductees, power now flips to the voters, and fans are also asked to weigh in online. (A single “fan ballot” is submitted as a result of those votes.)The inductees will be announced in May, and the ceremony is slated to take place in the fall. More

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      in Theater

      Review: A Faithful ‘Kinky Boots,’ With All Its Pizazz and Pitfalls

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      The Cyndi Lauper and Harvey Fierstein musical, in which the drag queen Lola saves a provincial shoe factory, makes an Off Broadway return at the spacious Stage 42.You can’t keep a drag queen down, at least not for long. It was only April 2019 that the Cyndi Lauper and Harvey Fierstein musical “Kinky Boots” closed on Broadway after a six-year run, and already it’s back in town. The Britain-set show, in which the statuesque performer Lola saves a provincial shoe factory by inspiring a line of toweringly outré footwear, is now running Off Broadway.But unlike the comebacks of shows such as “Jersey Boys” and “Rock of Ages,” which both reopened at the underground theatrical mall New World Stages, “Kinky Boots” is at the spacious Stage 42, which stands on 42nd Street and is large enough to accommodate a 25-person company and a minimally downsized version of the director Jerry Mitchell’s va-va-voom production.But enough about real estate: How is Lola?This, after all, is the role for which Billy Porter won a Tony in 2013, and it is a textbook Fierstein creation — bold and brassy, with big hair, bright nail polish and quick-fire quips barely concealing the scars of pain and rejection. There are expectations.Happily, Callum Francis, who has played the part in Britain, Australia and, briefly, on Broadway, meets them. He is a delight not just as Lola but as her alter ego, Simon — it is hard to tell who the real person is, what real means in this context and whether it even matters. Unlike Porter, whose physical intensity often came across as combative swagger, Francis moves with a dancer’s grace, and Lola’s confidence has a slinky playfulness that is especially fun to watch in her early scenes with Charlie (Christian Douglas, whose performance is a little stiff).Charlie is the earnest bloke trying to save his late father’s failing shoe company because the jobs of people he has known since he was a child depend on it. Lola provides him with life coaching and the idea that will eventually reinvent the business — to create and build “tubular sex,” that is, boots that are simultaneously strong and sexy. Both characters have complicated relationships with their fathers, and Lola shows not just Charlie but everyone onstage that there are many ways to be a man. That thread was also in the 2005 movie that inspired the musical, but here, the message feels super-Fiersteinian.Simon’s wounded vulnerability is never too far underneath the glitter and takes center stage in the 11 o’clock power ballad “Hold Me in Your Heart.” The reveal of that song’s context hit harder in the original production because we had seen a little more of Lola’s back story — the roles of Young Simon and Young Charlie have been cut here. More subtle are tiny tweaks such as Lola’s welcome greeting, which has been expanded to “Ladies, gentlemen, theys, them and those who have yet to make up their minds!”But, overall, the show looks and feels like a slightly sized-down photocopy of the original. Danielle Hope, for example, is very funny as Lauren, an employee at the factory, and her big solo, “The History of Wrong Guys,” is perfectly calibrated, but the rendition faithfully duplicates Annaleigh Ashford’s, who originated the role on Broadway. It looks as if Hope might be capable of coming up with her own shtick, and it would have been interesting to see the supporting cast receive a little more agency. But don’t worry, the conveyor belts still turn into treadmills for the exhilarating “Everybody Say Yeah” — a sterling example of Mitchell’s showmanship.Considering this faithfulness to the original template, it is not surprising that the story’s less successful moments remain, too. Among them are the slightly preachy tone as well as Charlie’s sudden dark turn. According to Fierstein’s recent memoir, “I Was Better Last Night,” the show took nearly five years to complete, so you have to wonder how nobody could find an hour to refine this temporary personality transplant. The book also suggests an intriguing line of thought when Fierstein writes that the number “What a Woman Wants” expresses Lola’s “daring sexuality — as a cross-dressing heterosexual male.” You will have to stare extra-hard and perhaps do a bit of projecting to see that onstage, where Lola essentially manifests as a magical being. “The sex is in the heel,” as one song proclaims, but it would have been nice to transfer some from the boot to the character.One seemingly big change that turns out not to matter is the shrinking of the band to half of its Broadway size. But here it is perfectly fine to go big on synthesizers because Lauper’s songs, packed with hooks, and Stephen Oremus’s sharp arrangements and orchestrations always made terrific use of electronics. This is the only score in recent Broadway history that sounds as if it were written by people who had set foot in a nightclub within the past 40 years, and the hi-NRG finale, “Raise You Up/Just Be,” sounds like it’s booming out of a float at a Pride parade. That’s a compliment, of course.Kinky BootsAt Stage 42, Manhattan; kinkybootsthemusical.com. Running time: 2 hours 25 minutes. More

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      ‘Kinky Boots’ Sets Summer Return Off Broadway

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      A revival of the Tony-winning Cyndi Lauper-Harvey Fierstein collaboration will begin performances at Stage 42 in July.The sex is back in the heel.The producers Daryl Roth and Hal Luftig announced on Thursday that an Off Broadway revival of “Kinky Boots,” the Cyndi Lauper-Harvey Fierstein collaboration that won the Tony Award for best new musical in 2013, would begin performances at the theater in July.The revival at the 499-seat Shubert theater is set to be directed and choreographed by Jerry Mitchell (“La Cage Aux Folles,” “Legally Blonde”), who directed and choreographed the original Broadway production, which won him his second Tony for choreography.The feel-good musical tells the story of a young Englishman, Charlie Price, who attempts to save his family’s shoe factory by making boots for drag performers. The Broadway production — which starred Stark Sands as Price and Billy Porter as the drag queen Lola, a performance for which Porter won a Tony — closed in April 2019 after 34 preview and 2,505 regular performances.In his critic’s pick review, the New York Times critic Ben Brantley called the musical, which features music and lyrics by Lauper and a book by Fierstein, “a shameless emotional button pusher.” He described its pulsing, earworm-y score as performing “like a pop star on Ecstasy.” (The cast recording won a Grammy for best musical theater album.)“Kinky Boots” has been a significant hit in the nine years since it opened on Broadway, where it grossed $297 million and won six Tony Awards. The show has toured North America and Britain, and productions have been staged in Australia, Canada, Denmark, Germany, Japan, Korea, the Philippines, Poland and Spain.The Off Broadway production is scheduled to begin performances July 26 and open Aug. 25 at Stage 42 in Hell’s Kitchen. No casting has been announced. More