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      in Music

      The Constant Metamorphosis of Nona Hendryx

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      In a purple catsuit and spiky celestial headpiece, Nona Hendryx beckoned, with a wave. “I’m inside the tree!” she called. “In the forest of the ancestors.”It was not the real Hendryx but her digital avatar, giving a tour of a new virtual reality project. Still, there is little distance between the flesh-and-blood Hendryx — the musician, artist and futurist, who has been forging her own way for over a half-century — and the slinky cyborg on winged feet who was scampering through a turquoise and fuchsia dreamscape on a recent Friday. They both inhabit a world of their own creation, signaling urgently for everyone to catch up.The soundtrack for this V.R. journey was Hendryx’s 1983 electro jam “Transformation” — “Change your mind/Change your skin,” the lyrics go — because, she said, “I’ve constantly evolved and transformed over time.”With each metamorphosis, Hendryx has spun into an even more singular cultural presence. She is not just the throaty alto who had an enduring hit with “Lady Marmalade” as part of the 1970s trio Labelle. She is also a teacher, curator, designer and technologist — a vanguard creator. In fact, she blithely told me, she never wanted to be a singer at all.“It happened, and I’m thankful that I’m pretty good at it,” she said, downplaying a career that took her from ’60s girl groups to the pioneering soul and R&B of the ’70s, then to her solo act in the ’80s, an ahead-of-its-time amalgam of art rock, funk, no wave and electronica that put her in league with technology-forward artists like Talking Heads, Peter Gabriel and Laurie Anderson.Music still drives her. But now, she said, “I’m much more interested in making that, rather than performing and presenting it.”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

    • 88 Shares179 Views

      in Music

      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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      in Music

      Revisiting the Women Who Defined Lilith Fair’s Sound

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      Hear songs by Sarah McLachlan, Tracy Chapman, Meredith Brooks and more.Sarah McLachlan onstage at Lilith Fair.Susan Farley for The New York TimesDear listeners,Every once in a while, it’s good to be reminded that Sarah McLachlan is more than just the voice behind that depressing pet commercial that makes me look away from my TV. (You know the one, for the American Society for the Prevention of Cruelty to Animals. I’m getting a lump in my throat just thinking about it.) The writer Grayson Haver Currin provided just such a reminder, in an incisive profile of McLachlan published by The New York Times this week.McLachlan is also, among other things, the leader of a school that provides free musical education to children, an avid surfer (which I learned from the article!) and, of course, one of the founders of Lilith Fair, a highly successful if unjustly stereotyped late-90s concert tour that celebrated female artists.Lilith Fair came during a period of critical and commercial prosperity for female artists in a number of traditionally male-dominated genres like rock, folk and that wide-ranging radio format called “alternative.” But as often happens when women gain power and visibility in a certain space, it also provoked a backlash. Even as it was raking in millions, Lilith Fair was the butt of many a late-night TV joke. As the critic Rob Sheffield put it in a 2019 oral history of Lilith Fair for Vanity Fair, “Certainly nobody on late-night TV comedy in 1997 felt obligated or encouraged to make jokes about Ozzfest or the Horde tour.”Lilith Fair wasn’t perfect and is not beyond scrutiny. Most of the performers booked in its first year were white, though the bills in its second and third years became more diverse. And I’m not here to argue that every act who played Lilith Fair has stood the test of time.Still, many have: Fiona Apple, Tracy Chapman, Sheryl Crow, Indigo Girls, Emmylou Harris … I could go on and on. But instead, I made a playlist.For brevity’s sake, I limited myself to artists who played on Lilith Fair’s inaugural 1997 tour. That still gave me plenty of great songs to choose from, as you’ll hear. I’ve included some obvious choices (did you really think I would leave off a certain karaoke classic by Meredith Brooks?) and some deeper cuts you may have forgotten about (that Tracy Bonham song still rips). Although an attempt to revive the tour in 2010 didn’t quite work, I do hear the influence of Lilith Fair artists in this current generation of pop stars like Olivia Rodrigo, Billie Eilish, Haim and, yes, even Taylor Swift, which means it’s an especially interesting time to look back at the artists who defined the so-called Lilith Fair sound.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

    • 100 Shares149 Views

      in Theater

      Why Are Nuns Either Saintly, Seductive or Sadistic?

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      In uncertain times, religious sisters are often invoked as vessels for collective doubt.From Chaucer’s supercilious Madame Eglantine in “The Canterbury Tales,” with her spoiled lap dogs and secular French airs, to Ryan Murphy’s ruthless Sister Jude in 2012’s “American Horror Story: Asylum,” a woman who wears a red negligee under her habit and is not above indulging in some communion wine, fictional portrayals of nuns have long captured and confounded the imagination. How could it be otherwise? The sisters’ vows of chastity and poverty and the air of secrecy that shrouds their cloistered lives are all intriguingly antithetical to modern Western values of sex, money and fame. Many of us have also encountered nuns in our actual lives — I spent much of fourth grade facing a corner of the classroom at the punitive behest of Sister Rosalia — and are left with what I’d call a primal fascination. But if the aesthetic interest in nuns is an enduring one, it’s also true that every few years, like fashion trends or viral flus, nuns have a particularly concentrated cultural moment. We’re living in one now.Perhaps the starkest, knottiest contemporary depiction of nuns is the playwright John Patrick Shanley’s “Doubt: A Parable.” First staged on Broadway in 2005, it recently wrapped another run there, directed by Scott Ellis. (Three of the cast members have been nominated for Tony Awards.) The play tells the story of the iron-fisted Sister Aloysius (Amy Ryan in Ellis’s revival), the principal of a Bronx Catholic school in 1964, who, based on the hunch of a guileless novice, Sister James (Zoe Kazan), accuses Father Flynn, the parish priest (Liev Schreiber), of making advances toward the school’s only Black student (whose mother was played by Quincy Tyler Bernstine). It’s a detective drama with no resolution, a morality tale with an insoluble ambiguity at its heart. Ellis says he was drawn to stage the play because its titular emotion feels more crucial than ever in our increasingly polarized world. “Given everything that we are in society right now, the black and white of it all, the red and the blue,” he says, “doubt is the most important place to live.”Liev Schreiber as Father Flynn (left) and Amy Ryan as Sister Aloysius in the recent Broadway production of “Doubt: A Parable” by John Patrick Shanley.Joan Marcus/Polk & Co., via Associated PressRebecca Sullivan, the author of the 2005 book “Visual Habits: Nuns, Feminism and American Postwar Popular Culture,” says that “in times of deep doubt,” we tend to see cultural representations of nuns crop up. She notes that the cascade of nunsploitation films of the 1960s and ’70s — a campy, provocative, mostly European cinematic subgenre in which nuns are sexualized, tortured or possessed — occurred at a time of great social upheaval. Second-wave feminism was afoot, secularism was on the rise and the Second Vatican Council, held between 1962 and ’65, had ushered in numerous church reforms: Nuns, for example, were encouraged to get out of the convent and serve the community and were no longer required to wear habits. The liminal status of sisters — they were independent women who also exhibited a “subversive subservience,” as Sullivan puts it, to a patriarchal institution — made them rich and complex symbols, ciphers for exploring the era’s feelings about women at large.We’re in another profound moment of disruption, particularly when it comes to women’s rights and roles: Roe v. Wade has been overturned; tradwifery is a trend. And thus we’ve seen a new spate of arty nunsploitation films, with “Immaculate” (2024), starring Sydney Sweeney, being the latest. (Others include Paul Verhoeven’s 2021 erotic lesbian nun satire, “Benedetta,” and Rose Glass’s taut 2019 psychosexual horror, “Saint Maud.”) Directed by Michael Mohan, “Immaculate” follows a devout Midwestern novice, Sister Cecilia, who arrives at a gloomy convent in the remote Italian countryside and mysteriously becomes pregnant, leaving church elders to conclude that she’s carrying the savior. In a turn reminiscent of “Rosemary’s Baby,” the sinister Father Tedeschi more or less imprisons Cecilia in the dark, labyrinthine building. For all its gory, sexy-nun fun, the film raises all-too-familiar questions about female bodily autonomy in oppressive male institutions. But this nun, a feminist heroine for the 21st century, is the agent of her own destiny: Unlike so many sisters in the first wave of nunsploitation films, she frees herself.Cate Blanchett and Aswan Reid in the 2023 film “The New Boy.”via Cannes Film FestivalWe 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

    • 138 Shares169 Views

      in Movies

      Jeannie Epper, Groundbreaking Stunt Double on ‘Wonder Woman,’ Dies at 83

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      Her first stunt was riding a horse bareback down a cliff when she was 9. She went on to soar on the hit TV series “Wonder Woman” and in many other places.Jeannie Epper had at least 100 screen roles, maybe even 150 — no one is quite sure. But because she was a stunt double, galloping on horseback, crashing cars and kicking down doors for the stars of films and television shows, hers was not a household name.In her heyday, however, Ms. Epper was ubiquitous. She hurtled through the air most weeks as Lynda Carter’s stunt double on the hit television series “Wonder Woman” and mimed Ms. Carter’s leggy lope. She tumbled through a scrum of mud and rocks as Kathleen Turner’s double in the 1984 comedy-adventure film “Romancing the Stone,” which also starred Michael Douglas. She threw punches for Linda Evans in one of her many ballyhooed cat fights with Joan Collins on the frothy long-running 1980s nighttime soap opera “Dynasty.”And, in what she often said was her favorite stunt — or gag, to use the industry term — Ms. Epper skidded a Corvette into a 180-degree turn as Shirley MacLaine’s character in “Terms of Endearment” (1983), neatly hurling Jack Nicholson’s double into the Gulf of Mexico.Ms. Epper, whose bruising career spanned 70 years, died on Sunday at her home in Simi Valley, Calif. She was 83.Her daughter, Eurlyne Epper, confirmed the death. She said her mother had been ill for some time and caught an infection during a recent hospital visit.Ms. Epper, second from the left, in 1960, next to her husband at the time, Richard Spaethe, and their son, Richard. Her brother Tony and her sister Stephanie, also stunt performers, are sitting next to her on the fence. Another stuntman, Dick Hock, stands next to them with his wife, Margo, and their son, Johnnie.Los Angeles Examiner/USC Libraries — Corbis, via Getty ImagesWe 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

    • 138 Shares149 Views

      in Music

      Kathleen Hanna Reveals the Story of Her Life in ‘Rebel Girl’

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      The first draft of Kathleen Hanna’s memoir, “Rebel Girl: My Life as a Feminist Punk,” was 600 pages long. As she worked to cut the manuscript, Hanna found herself excising page after page of male violence. “It’s pretty sad, if you read the book, because there’s still a lot in there,” she told me. “I had a joke with my editor about it.” Like, she’d already removed a rape and a kidnapping and a guy who threw a wine glass at her head! “What more do you want from me?”Hanna is super funny. When she takes the stage as the frontwoman of Bikini Kill, Le Tigre or the Julie Ruin, she plays a kind of punk trickster, shifting her voice to resemble a bratty Valley Girl, a demonic cheerleader, an obnoxious male fan. She is always subverting femininity and disarming bad guys with her spiky and irreverent lyrics. But when it came time to write her life story, she realized that she could not playfully twist away from her past.“I keep trying to make my rapes funny, but I have to stop doing that because they aren’t,” she writes in the book, which comes out on May 14.Kathleen Hanna at home with her dog, Terry. While writing her memoir, she was diagnosed with complex post-traumatic stress disorder.OK McCausland for The New York Times“Rebel Girl” documents Hanna’s long career as an underground artist and musician, and its striking intersections with the mainstream. In the 1990s, she helped instigate the riot grrrl movement, calling girls to the front of punk venues and setting off a D.I.Y. feminist ethos that was later assimilated into a girl-power marketing trend. She was a friend of Kurt Cobain’s who scrawled the phrase “Kurt smells like Teen Spirit” on his bedroom wall, inspiring the anthem that exploded into a global phenomenon.Nineties nostalgia applies an appealingly gritty filter to that era’s underground rock scene, but it could be punishing for those who stood in opposition to its white male standard. Hanna has sometimes worried that if she put it all out there, she would be disbelieved. “I’ve been told by men: Oh, you’re just the kind of woman these things happen to, as if I have some sort of smell I’m emanating,” she said. “But I knew that other women would understand.”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

    • 125 Shares169 Views

      in Theater

      Hillary Clinton, Malala Yousafzai Toast Their New Broadway Show ‘Suffs’

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      Dozens of theater, film and media stars turned out on Thursday night for the opening of “Suffs,” a new musical about women’s suffrage.“This is thrilling,” Hillary Clinton, the former secretary of state, said on a chilly Thursday night outside the Music Box Theater on 45th Street, as women in strapless gowns walked a purple carpet.Ms. Clinton, a noted Broadway superfan, was making her Broadway producing debut with “Suffs,” a new musical about women’s suffrage that traces the campaign for the right to vote from 1913 through the ratification of the 19th Amendment in 1920, which was celebrating its opening night.The show not only arrives in a presidential election year, as states attempt to tighten voting laws, but also as Broadway is bringing more female-centric stories to the stage. Audience interest in such stories has also been strong — in the previous week, “Suffs” ranked in the top 10 of the 36 shows on Broadway in the percentage of its seats filled.“I’m so excited that audiences are embracing this story,” Ms. Clinton said. “It’s historic and relevant, and it’s emotional, and it shows the relationships among these women who fought so hard to get us the right to vote.”Huma Abedin, at the opening night of “Suffs” at the Music Box Theater on Broadway.Lin-Manuel Miranda, right, with his father, Luis A. Miranda Jr.Anna Wintour, left, the global editorial director of Vogue, with Sara Bareilles, the performer. 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

    • 125 Shares119 Views

      in Movies

      Queer Women Behaving Badly: These Movies Scrap the Coming-Out Story

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      “Love Lies Bleeding,” “Bottoms” and “Drive-Away Dolls” are leading a wave of stories about lesbians living their lives, committing crimes along the way.To a queer woman going to the movies, it may seem as if there has been something in the ether for the past year. First, in August, there was “Bottoms.” Then “Drive-Away Dolls” arrived in February. “Love Lies Bleeding” joined the fray in March. This cluster of relatively mainstream films about queer women, deliciously frothy and fun to watch, feels unprecedented.It isn’t, of course — film always has a precedent. But the latest titles are different. These movies lean into camp: heightened realities, suspended disbelief, larger-than-life plots. What’s more, queer women had a significant hand in crafting each release, and none of the movies involve coming-out stories. Their protagonists are already out, living their lives, committing crimes along the way.“I don’t think that these three films, even taken individually, could have quite existed in the pretty mainstream public sphere even a few years ago,” said Clara Bradbury-Rance, a film scholar and the author of “Lesbian Cinema After Queer Theory.” “At what point,” she added, “do you reach a sense that lesbians are represented enough to represent them in their badness and toxicity and irritation?”“Bottoms” follows two lesbian high school seniors, PJ (Rachel Sennott) and Josie (Ayo Edebiri), who start a fight club (sorry, self-defense club) as a ruse to hook up with cheerleaders. “Drive-Away Dolls” is a crime caper about unsuspecting friends, Jamie (Margaret Qualley) and Marian (Geraldine Viswanathan), who find a mysterious package in the trunk of their car during a road trip. And in “Love Lies Bleeding,” Jackie (Katy O’Brian), an ambitious bodybuilder, comes to town and falls for Lou (Kristen Stewart), a gym manager with a shadowy past.With their offbeat B-movie feel, these stories are “managing to mess with this dichotomy between the good representation and the bad representation,” Bradbury-Rance said, allowing us to think, “there are ways of finding pleasure in ambivalence and ambiguity and tension.”These films are part of a recent larger wave of lesbian stories that includes “Tár,” “Nyad,” “The Color Purple” and “Silver Haze,” and they stand in stark contrast to another recent cluster: the period dramas of the late 2010s. Think: “Carol,” “The Favourite,” “Portrait of a Lady on Fire” and “Ammonite.” Andrea Torres, one of the programmers behind the recent Sapph-o-Rama series at Film Forum in Manhattan, referred to this as the “lesbian saints era.” It even had its own “Saturday Night Live” sketch: “Lesbian period drama,” went the tagline. “You get one a year — make the most of it.”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