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Unquiet, graceful, ironical and, for moments, severe like a executive secretary, showed HERself the godness of POP in HER recent visit in Chile. CYNDI LAUPER is a combination of all this and much more. With HER voice of an animated cartoon, was much clear that about rock, CYNDI has much to down. The creator of songs like “Girls Just Want to Have Fun” or “True Colors” said that for a woman, was really difficult to be someone in this maler world of rock. What SHE did to enter in equality of conditions was create HER own band and work alone. Was tired of pull down HER head before the men’s decision.

Of Chile, said that remember of the sky and the ground, because in the dark time, was the only thing that SHE remember of HER first visit, and SHE knows that Chile is full of people who like very much of HER. Said that is a mutual feeling.

CYNDI is very thin, wear shoes with high heels with trousers that make to see till more HER legs. HER hair can be seen of meters of distance, per the color “canary-yellow”, ordered in “ones” that aren’t tresses. Tell that was original since HER birth, in Brooklyn, New York. Since SHE was a little child, SHE paint, writes poesy and sing. At twelve years old, already composed and played guitar in folk style. Being out of the college, created the band Blue Angel, and with them, recorded a disc in 1980 that included the songs “Maybe He’ll Know” that SHE put lately in HER album “True Colors”.

The big debut of CYNDI LAUPER was in 1984 with “She’s So Unusual”, that sold more than 15 millions of copies in all the world. The sucess followed in ’86 with “True Colors” and after the recess, in 1990 continued with “A Night To Remember”. In our country, came to present HER new disc “Twelve Deadly Cyns”…and then some, that has 16 songs, that between them, surpass “Hey Now” that is a new version of the classic “Girls Just Want To Have Fun”. And CYNDI says that follow being a girl that just want to have fun and to fun HER fans.

I am my rival
Very much transgressor is you CYNDI… How do you combine this condition with the much established of your marriage? With love. My husband loves me, for this that he don’t be afraid when he wake each day with a different woman… is to say, that’s me, what happen is that frequently wear my hair and my “look” without the shorter advice. That’s why I like my husband… everything in me, he likes. Well, that’s what he said me always.

I’m not so transgressor. I like to have the things in their place. All the things. For example a song, a combination of good themes in a show, a good actor in a movie… a husband that is a good lover… all these things.

Why do you use this hairdressing ?
Did I ask to you when did you cut your hair the last time or when did you decide that your hairdressing that you use fall good in you ?… no ? So, why do you ask to me ? I have my reason for comb me this way…

Which are ?
My love for the painting. Since I was a little child, I have a big love for the plastic, before I paint, soon I did photography, for all that has a combination of colors, of textures, of materials of various types in the same work, touch me. I had wanted to be a painter, paint when I have time, for this I don’t paint very much.

Is that true that Madonna is your big rival ?
Who is Madonna ? Didn’t come with me. No, in reality she isn’t my rival neither my friend. Isn’t nothing. Don’t interest me to talk about her. The only rival that I have is myself., overall when I don’t get a good recording as I want or if I lost the lights in one of my shows… In reality can’t exist a rival of mine bigger than myself.

“PEOPLE ALWAYS GET THE WRONG IMPRESSION OF ME,” says Cyndi Lauper, who has just turned 40. “After they’ve seen me live, they come up andsay ‘I didn’t know you could sing.'”

Not only that, there’s a thoughtful person under that platinum bob; “These are heavy times we’ve just lived through,” she says, “and I wasn’t going toignore that.” Last year’s Republican “family values” crusade troubled Lauper and she sympathized with Anita Hill: “I’ve had sexual harassment on thejob when I was 17, and when you ain’t got no money you’d be surprised what you put up with.”

Lauper decided to make her political points through the characters in her songs. She was encouraged by her husband, actor David Thornton, to whomshe was wed in 1991 with vows read by Little Richard. (She and Thornton both appear in the new Michael J. Fox comedy, Life with Mikey.)

At the same time, Lauper decided to take more control over her career. On her last album, 1989’s A Night to Remember, she remembers, “I was doingsongs by people who were writing about their new car or the new extension on their garage. I don’t do anybody else’s songs anymore.'”

In the meantime, she says she’s untroubled by the diminishing sales of each of her records. She’s So Unusual sold nearly 5 million copies; TrueColors (1986) only a million; A Night to Remember (1989) less than 500,000. “I don’t need to have zillions and billions of dollars,” she says. “I just wantto do work that I’m really happy with.”

Nearly 10 years ago, Cyndi Lauper broke new ground as a zestful, zany pop diva with her hit packed debut, She’s so unusual, Now, with her forth, and most ambitious album, Hat Full of Stars , a more serious Lauper has returned with a fresh sound that mixes 60s soul, 70s funk, and 80s pop and 90s hip-hop, as well as bits of folk and ethnic music. And her multi-octave voice has never sounded better, hitting highs, lows and everything in between.

Sonically, Hat full of stars, has a richness that results from its imaginative combination of rootsy instrumentation (dobro, accordion) and R&B staples (organ, saxophone), underpinned by dance-music mainstays (drum machine, key-boards, samples). Laupers expressive voice meets the challenges of the various songs – from throaty belting (That’s What I Think) to sassy testifying (Like I used to) to plaintive crooning (Who let in the rain).

Lauper joins forces on Hat with former writing partners Eric Bazilian and Ron Hyman (of the Hooters), as well as song doctor Allee Willis, co-producer Junior Vasquez, Tom Gray (who wrote Laupers 85 single Money Changes Everything and singer/songwriter Mary-Chaplin Carpenter and Nicky Holland. Except for the maudlin Rain and the exuberant, Celtic-tinged Feels like Christmas, Lauper has left behind affairs of the heart. Instead, she offers personal insights into such subjects as racism (A Part Hate), illegal abortion (Sally’s Pigeons), incest (Lies), and wife bashing (Broken Glass)- its heavy-duty, but not heavy-handed.

The albums pensive title track depicts Lauper herself as an older-but-wiser survivor: “Im trying to live in the present/but I keep tripping on the past/ finding out reality, well, clarity/ comes in dribs and drabs”. On Hat Full of Stars, the past and present, reality and clarity all come in equal-and powerful-doses.

So you’ve been wondering where Cyndi Lauper’s been. She admits she’s a year late in coming out with her new album, Hat Full Of Stars, while seated in her living room in the Althrop building on the upper west side of Manhattan. She looks like a normal American girl-next-door, with no make-up, oversized painter pants and a big, black T-shirt with white socks and no shoes. What color hair this time? Blonde, of course, in a pageboy style.

Since the hugely successful She’s So Unusual (“Girls Just Wanna Have Fun” was the monster single) in 1983, which led to Rolling Stone magazine dubbing her “Best New Artist” and MTV tapping her as “Best Female Video Artist,” Cyndi released True Colors in 1986, which spawned yet another hit single in the title track. She then went on to Paris to record her action-packed live concert video, “Cyndi Lauper in Paris,” followed by 1989’s A Night To Remember.

Fast-forward to 1993, and her latest album, Hat Full Of Stars, which she co-produced with Junior Vasquez (Tevin Campbell, Siouxsie and the Banshees). Lauper speaks with enthusiasm and good humor, drifting in and out of her Queens accent, as she philosophizes about creativity and her career, occasionally breaking into refraines from the songs themselves.

Q: Where have you been since your last album?

CYNDI: In 1991 I got married to David Thornton, while we were doing a movie together called Off and Running. He was the murderer, and I met him on the set. We fell in love in Miami, which is a great place to fall in love. After going to Liverpool to do the John Lennon tribute, we went to Cape Cod [Massachusetts] for a couple of months, where I started writing. I went to Berlin to do The Wall. And then I started working on “Who Let iIn the Rain” from the new album, which I wrote with Ailee Willis, who really helped me as a friend. I then started writing with the Hooters and the encouragement of my husband.

Q: Did you feel that you had to compete with Madonna for your audience?

CYNDI: I knew at one point that her record company was competing with me. They put an advertisement out in the paper that said, “This fall, I will give Cyndi Lauper a run for her money.” She can have it. It’s like apples and oranges. Madonna is really bright. I think she’s a performance artist. I saw her “Truth or Dare,” and I thought it was really good, but it’s not what I do. I’ve come to say something, and maybe some people don’t understand what it is. Maybe they thought it was a gimmick. It wasn’t. Even “Girls Just Want To Have Fun” wasn’t a gimmick. I wanted to bring women together. I saw how it was unpopular for mothers and daughters to be friendly. I said to myself, maybe we should fix that and make it popular. It brought women around the world together–it was a celebration, and I think that’s very important.

Q: In “Product of Misery” from the new album, who are you specifically talking about?

CYNDI: I’m talking about people. Real people. The Bush/Quayle administration sold us a bill of goods, especially Barbara Bush, and I felt like I had to stand up to it. I’m not talking about what we’re sold to think real people are or what we’re sold to believe real people look like. What we’re taught is twisted, and I just wanted to write that. I wanted to write a work that was like a piece of literature.

Q: “Who Let in the Rain” and “Hat Full of Stars” seem introspective and sad. Is this the new Cyndi Lauper?

CYNDI: “Time After Time” [from True Colors] was sad. You always think that your truth is not worth anything, [that] it’s not what people want to hear. But the truth is, you can’t write what you don’t know about. I’ve got to know what I’m saying. In “Who Let in the Rain,” I broke up with someone that I really cared for. People really feel things like that. If you really feel that, you should write about it. A year or two ago, I would not have said it. And I thought, “It’s too sad and nothing came out. But you have to write it.” Even though “Hat Full of Stars” is really sad, it’s also uplifting because she always had a hat full of stars. All my songs on this album are testimonies to people.

With her multimedia comeback firmly in place, Cyndi Lauper has successfully reinvented herself both as a performer and a personality.

In the intimate confines of the Ford Theatre, Lauper reintroduced herself to her L.A. faithful, who were out in force to hear what the songbird has been up to since she last recorded three years ago.

Lauper’s set consisted of all the songs, in order, from her upcoming Epic Records release, “Hat Full of Stars,” due June 15. With an energetic Lauper in fine voice and a first-rate band, the potent material is personal, yet commercially viable. The girl who just wanted to have fun has matured and ripened.

At 39 years old, the singer, whose obviously found happiness in her personal and professional life, is totally at ease on stage. While audience members shouted endearments and encouragement, Lauper kibbitzed with them as if they were old friends who haven’t seen each other in years. She even stopped in mid-set to sign an autograph to a fan who said she had once promised it to him.

Her sparkling personality only helped the new material, which swings through hip-hop, Celtic marches, pop bounce, folk, funk, pure rock ‘n’ roll and Cajun and African stylings.

While Lauper’s wide-ranging vocal ability could previously be described as annoying, it has taken on new strengths, running the gamot of emotions in her new work. She effortlessly alters singing styles to fit the song’s various moods.

The new Lauper sings about such serious issues as incest (“Lies”), abuse (“Broken Glass”), prejudices (“A Part Hate”) and death (“Sally’s Pigeons”) with just the right amount of sensitivity.

And although the material is so much more vital, it hasn’t lost its commercial appeal.

After her third record, “A Night to Remember,” bombed and her two film projects followed suit (one was actually never released, the other was “Vibes”), Lauper has gotten up the strength to do it again.

Her new film, “Life With Mikey,” has opened to lukewarm boxoffice, but based on the material performed here, the potential for her new disc is limitless.

Imagine yourself pumped and primed for a rare Cyndi Lauper club concert. It’s her first area appearance in four years. The show is running 45 minutes late, but, hey, that’s rock ‘n’ roll, right? It’s a weekend. And with Lauper, the kitschy queen of mid-’80s smart pop, so long on the sidelines, you find yourself missing her soulful exuberance, her playful feminism, her spunky individuality — to say nothing of the four singles she put into the Top 5 in 1984-’85. All of the late-’80s miscues are forgiven. You want to welcome her back with open arms.

But then the concert unfolds, and it turns out to be, largely, a fun- deficient experience. And this from the girl who once just wanted to have fun. An impossible bad dream?

No, reality at the packed Paradise Friday night, where the diminutive, dyed-blond, pageboy-coiffed singer played the last date of a brief US club tour, undertaken to fan the fires for the June 15 release of her album “Hat Full of Stars.”

Someone else might call what Lauper attempted Friday night bold and confident. I’d call what she did arrogant, and maybe even insulting. Because what she did was play the entirety of her upcoming album — 12 songs, in order — and made that the basis of her show. The only older songs came during encores. I know the “Hat Full of Stars” tunes were played sequentially only because Epic, her label, shipped me an advance CD. But I could tell from observation that her set befuddled many of the crowd.

Lauper started the night oddly by introducing her 12-piece band. Yawn. Why do it before a note is played? She then told the paying customers, “This is my record. Hope you like it.”

There are several problems here, the primary one being that Lauper was congratulating herself for her risk-taking while giving the people none of what they wanted. That’s a dicey proposition for someone on the comeback trail, someone whose peak of popularity was eight years back. And, as most pop fans know, it is very difficult to latch on to a song — its melody, mood or message — in just one hearing, especially in a live setting. Lyrics are unclear; hooks are not yet implanted in the brain.

So, given that: How was the new Cyndi? Trendy. Her pop is informed by hip- hop and New Jack swing; she’s reaching out for the Janet Jackson audience. She’s a little bit funky, a bit more melodious. Lyrically, she’s pretty serious. Not that you’d know this from the concert — lack of vocal clarity and all — but the CD’s lyric sheet makes it clear that Lauper and her co-writers are dealing with a lot of misery and trying to rise above it all. Topics include incest (“Lies”), racial strife (“A Part Hate”) and a back- alley abortion (“Sally’s Pigeons”). There’s a fair degree of romantic struggle.

Friday night, a few songs had their charm — the giddy, Motown-ish “Like I Used To” and the lilting, Celtic-flavored “Feels Like Christmas” among them — but too much of the new stuff came off as tepid. A case of forced joy. I couldn’t disagree when someone yelled, “Play the old stuff, will ya!”

Lauper — who plugged her upcoming movie “Life With Mikey” and meandered when she yakked — ignored that plea. She talked about writing a song that “answered the calling deep inside.” This turned out to be “Hat Full of Stars,” a look-back-with-longing-and-toughness song, a would-be towering ballad. It closed the set and almost replicated the dramatic resonance of her old hit “Time After Time.” But not quite.

Which brings us to the encores. First up, a barely recognizable “Girls Just Wanna Have Fun,” tarted up in reggae/hip-hop clothes. The implication: This song is too innocent, not close to me anymore. We will deconstruct the melody and not allow you any nostalgic fun. Then, the mawkish tearjerker “True Colors”, best remembered these days as a photo ad jingle, and “Change of Heart”, an agreable grabber that allowed the kept-on-a-leash band to kick it out, hard-rock style, during the coda. They closed with a false flash, a sparkling, climactic geyser to an ill-conceived show.

CYNDI LAUPER has grown up. Once in danger of becoming the ’80s answer to Betty Boop, New York’s multi-platinum sweetheart has returned from the wilderness with an album guaranteed to surprise. More than a comeback, “Hat Full of Stars” (Epic) is easily her best effort, a smart, passionate work that adds a new toughness to the charming pop sparkle of old.

Lauper’s escape from the purgatory of nostalgia revives a career that’s barely flickered over the last few years. The 1988 movie “Vibes” bombed, while her 1989 album, “A Night to Remember,” fell way short – artistically and commercially – of its two smash predecessors. Since then, she’s been practically invisible, apart from news of her 1991 marriage.

In the liner notes, Lauper says “Hat Full of Stars” is her story. If so, she’s been though hell: a sharp contrast to the giddy optimism of her younger days. The woman who chanted “Girls Just Want to Have Fun” almost 10 years ago now tackles such sobering matters as domestic violence and mental cruelty without a flinch. Writing with a host of collaborators, including old pals Rob Hyman and Eric Bazilian of the Hooters and country star Mary-Chapin Carpenter, Lauper sounds like someone who’s learned bitter truths the hard way.

The funky uptown bounce of “Broken Glass” can’t soften her tale of abuse by a brutal lover, while the melancholy title track simmers with angry regret over a failed relationship. In less sensitive hands, the delicate “Sally’s Pigeons” might be cheap melodrama, but Lauper brings a touching, unadorned sincerity to this account of a friend’s death from an illegal abortion.

So much naked anguish would be hard to stomach if Lauper weren’t still an irresistible performer who sings her heart out, however bleak the situation. Producing or co-producing every track, Lauper displays an unerring instinct for catchy touches, from the gritty grooves of “Dear John” to the breezy “Like I Used To,” which combines a rousing declaration of independence (“Won’t take your crap”) with echoes of the Temptations’ “Beauty Is Only Skin Deep.” Only the corny “Who Let in the Rain” fizzles – although it would probably suit Whitney Houston just fine.

She may never recapture her dizzying chart success of the mid-’80s, but Cyndi Lauper’s got more important things to worry about now. Whether “Hat Full of Stars” sells 5,000 or 5 million copies, she oughta be proud.

Murder, kidnapping, and a car crash bring together a theme-park mermaid/aspiring actress (Cyndi Lauper), a would-be golf pro (David Keith), and a streetwise kid (Johnny Pinto) who are making their way from Florida to Manhattan. The actors were not exactly prepared for their roles. To do her underwater mermaid scenes, Lauper had to learn to swim. Says costar Keith, “she certainly looked adept at it, and she was underwater with girls who do it for a living.” Keith, meanwhile, had to learn to play golf. ” I got to where I could hit it alright with the irons,” he says, ” I still slice pretty badly with the driver.”

Nobody ever accused Cyndi Lauper of doing things the traditional way – yet most girls who just want to have fun, also just want things to be beautiful when they get married.

And at 3 o’clock yesterday at the 205-year-old Friends Meeting House at 15th St. and Rutherford Place on Stuyvesant Square, singer Lauper, 38, not only had fun getting married to actor David Thornton, she had a ball.

The Friends Meeting House, a Quaker house of worship, has been the scene for many non-traditional wedding ceremonies. Lauper mixed the traditional with the outrageous, the touching and the hilarious.

Little Richard, who at one time gave up rock ‘n roll to become a minister – and still is one – performed the ceremony. Patti LaBelle sang “A Whiter Shade of Pale,” and Cyndi’s grandma served as the maid of honor. The vows, written by Lauper, Thornton and the Little Big Man – a/k/a the Rev. Penniman – were quite beautiful, touching and yes, still fun.

After the ceremony, which was closed to the news media, the wedding party and guests loaded into a double-decker bus parked outside, then headed downtown to an Italian restaurant on the Lower East Side to, well, have fun.

Didn’t the neighbors get suspicious seeing a double-decker parked outside the Quaker Meeting house? Hardly – the Meeting House is attached to the Friends Seminary School and buses are a common sight, bringing students back and forth on school trips.

Unlike the media circus created by the Liz Taylor/Larry Fortensky wedding, this one was dignified and quiet, with both the guest list and the location kept under wraps. Guests included Pee-wee Herman (Paul Reubens) and “Barton Fink” star John Turturro. The bride chose not to wear a Cyndi kind of outfit, but something more traditional – a white satin bustier party dress in which she looked astonishingly beautiful. Groom Thornton wore a traditional tuxedo.

The couple met about two years ago while filming a movie, “Off And Running,” that hasn’t been released yet. And they certainly were.

Make just a few, slight changes–oh, add a Laura Ashley dress, tone down the lipstick–and Cyndi Lauper could walk unnoticed through the sedate hallways of Hartford’s insurance giants.

The new-look Lauper–the short, straight cut of her auburn hair, a loose-fitting black outfit–was a sight to behold as she frenetically danced near an old poster of herself Tuesday night at Toad’s Place.

No more tangerine hair, no more bracelets up to her elbows, no more eyeglasses borrowed from Grandma. And thank goodness, no more wrestlers.

But her strongest asset–her astounding voice–remains, and Lauper used it well Tuesday as she cruised through a generous, energized two hour set.

Slowly edging toward the front of the stage, Lauper and her five-piece band opened with several percussion-heavy numbers that featured a Latin flair.

The new tunes can be heard on an upcoming album, which the 37-year old New Yorker, from the Queens neighborhood of Ozone Park, said could be released in May.

She dropped a solid “I Drove All Night” into the segment and, backed by two drummers, took command of the stage.

Overloaded with musical zeal, the band jammed as she bopped back and forth at a ferocious pace that must require pre-concert carbo-loading.

Pit-stopping for a towel and bottled-water break, Lauper offered a slower version of “All Through the Night” before a slightly chaotic “Boy Blue.” While the music teamwork was well orchestrated, the song featured a few unneeded primal screams from Lauper.

From there on, however, Lauper and bandmates offered a range of tunes that should propel them to even wider audiences. Her bouncy, sweet vocals glided through a cover of Marvin Gaye’s “What’s Going On ?”

Pausing to ask in her trademark voice, “What note, babe?” Lauper then took up the New Orleans standard, “Iko, Iko.” Using what looked like kitchen forks, Lauper played a metallic washboard hung from her neck.

From that easy, crowd-swaying tune, they were ready to rock. Lead by an empowering bass performance, the band shined through “Dancing With a Stranger,” with Lauper, clutching a pink tambourine, bopping all over the place.
More frenetic bopping followed, naturally, during “She Bop,” as well as “Yeah, Yeah.”

Lauper slowed for the deftly delivered ballad “Unconditional Love,” sometimes closing her eyes to concentrate as she sang. She immediately resumed the pace of powerful, tension-laced rock tunes, including the mega-hit, “Money Changes Everything,” which closed the set.

By placing the songs so close together, Lauper displayed the impressive versatility of her voice and her stage presence.

Through two encores, Lauper and her bandmates offered six more tunes, including, “Time After Time,” “Hole in My Heart (All the Way to China),” “Girls Just Want to Have Fun,” and “True Colors.”