Hit Parade | "Be the One to Walk in the Sun, Part 2"
Host: Chris Molanphy | Slate Podcasts | December 3, 2021

Episode Overview

The episode continues the intertwined chart histories of three emblematic 1980s pop-rock acts: Cyndi Lauper, the Bangles, and Amy Mann (of 'Til Tuesday), tracing their trajectories through the mid-1980s into the 2000s. Host Chris Molanphy dissects not just chart victories and creative pivots, but also the broader context of the music industry’s treatment of female artists—highlighting moments of peak success, pitfalls of industry sexism, and long-fought artistic comebacks. The narrative weaves anecdotes, music trivia, and memorable audio moments, exploring how these musicians navigated fame, decline, and reinvention.

Key Discussion Points & Insights

1. Cyndi Lauper’s Peak Years and WrestleMania Crossover

• Grammy Win & WWF Crossover (01:32)

  • Lauper’s flamboyant public persona and her collaboration with World Wrestling Federation (WWF) highlighted her status as an 80s icon. She took Hulk Hogan to the Grammys and appeared in wrestling events and videos.
  • Quote (02:04): “That’s Hulk Hogan flexing behind the podium next to Cyndi. He was more than her bodyguard.” – Chris Molanphy

• Unstoppable Hit Run

  • Despite a minor blip with "Money Changes Everything," Lauper scored seven top 10 hits between 1984–86, demonstrating public appetite for her bold style.

2. Bangles’ Breakthrough: From Indie Harmonies to Pop Stardom

• From “All Over the Place” to “Different Light”

  • Their 1984 debut barely cracked the charts, but producer David Kahne (and Columbia Records) steered them towards a commercial sound for their sophomore LP.
  • Band Dynamics: Tension arose as Susanna Hoffs was pushed as the face/voice of the group, often to the detriment of democratic collaboration.

• Prince’s Game-Changing Gift: "Manic Monday" (09:59–13:03)

  • Prince, a fan enamored with the Bangles (particularly Hoffs), passed them “Manic Monday,” which became their first major hit.
  • Quote (10:53): “Prince liked Hoffs in particular ... what he did next has been widely regarded as an act of courtship.” – Molanphy
  • The song became a smash, peaking at #2 and kept from the top only by Prince’s own "Kiss."

3. ’Til Tuesday and Amy Mann: New Wave to Introspection

• Post-”Voices Carry” Challenges

  • Their Best New Artist VMA and chart success with “Voices Carry” did not secure lasting prominence. Subsequent singles faltered—foreshadowing the sophomore jinx.

• Personal and Professional Growth

  • Mann’s songwriting matured on 'Welcome Home' (1986), and her network expanded—singing backup for Rush’s “Time Stand Still” (19:27), despite Rush initially wanting Cyndi Lauper for the part.

4. Industry Tactics: Image, Hits, & the Producers’ Hand

• The Power and Pitfalls of Label Strategies

  • Producers and labels often sidelined other Bangles members in favor of Hoffs and imported outside musicians for instrumentals.
  • Quote (09:09): “David Kahne was determined to make ‘Different Light’ the Bangles' pop breakthrough.” – Molanphy

• Songwriting Crossovers

  • Jules Shear, who wrote “All Through the Night” for Lauper, saw the Bangles turn his “If She Knew What She Wants” into a hit, demonstrating the fluid songwriting currents of 80s pop.

5. Signature Anthems & Cultural Impact

• Cyndi Lauper’s “True Colors” as an LGBTQ Anthem (22:19–24:42)

  • Lauper’s gentle, whispery approach redefined the song, inspired by the loss of a friend to AIDS.
  • Quote (22:55): “Then I realized it had to be a voice that whispers to you … so that it would speak to the basic DNA, the softest, most gentle part of a human being.” – Cyndi Lauper
  • The song’s impact grew with the rainbow flag and Pride movement.

• The Bangles’ “Walk Like an Egyptian” Video & MTV Era Stardom (25:56–27:29)

  • Its quirky video and dance craze helped catapult the group to #1 and reflected both the playful and seductive aspects of mid-80s pop.

6. Late 80s: Decline and Comebacks

• Lauper’s Wobbles

  • After “True Colors,” post-1987 singles underperformed, though “I Drove All Night” (1989) returned her to the top 10—but failed to revive her album sales.
  • Notably, Roy Orbison and later Celine Dion also recorded “I Drove All Night.”

• Bangles’ Breakup: The “Eternal Flame” Paradox (39:07–42:50)

  • Despite a chart-topping ballad (“Eternal Flame”), label pressure to elevate Hoffs sowed divisions, resulting in break-up by 1989.
  • Quote (40:14): “Eternal Flame was to the Bangles what Yesterday had been to the Beatles, a showcase for a single member disguised as a group project.” – Molanphy

• Amy Mann’s Industry Labyrinth (50:34–56:12)

  • Mann’s solo efforts were hamstrung by label mergers and indifference, inspiring biting songs like “Nothing Is Good Enough” about label frustrations.
  • Salvaged by a pivotal connection to filmmaker Paul Thomas Anderson, Mann’s “Wise Up” and “Save Me” became emotional centers of Magnolia, earning her an Oscar nomination.

7. 1990s and Beyond: Rebirths Beyond the Charts

• Surviving and Thriving Out of the Spotlight

  • The Bangles reformed, toured, and made new indie records, finding creative fulfillment over star-making machinery.
  • Hoffs and Vicki Peterson both launched side projects and solo careers.

• Cyndi Lauper: From Dancefloor to Broadway (64:20–68:58)

  • Lauper reinvented herself with club hits in the 2000s (“Into the Nightlife”), persistent LGBTQ advocacy, and, most remarkably, composing the Tony-winning score for Kinky Boots — becoming the first unaccompanied solo female composer to win Best Original Score at the Tonys.
  • Quote (68:19): “I gotta thank my mom for sharing all that wonderful music … and I want to thank Broadway for welcoming me.” – Cyndi Lauper, Tony Awards

• Amy Mann: The Indie Artist’s Path to Critical Acclaim

  • Freed from label shackles, Mann’s self-released Bachelor No. 2 became her biggest earner, showing the viability of independent artistry. Continued collaborations, notably with husband Michael Penn and Largo’s John Bryan, kept her at the creative forefront into the 2000s.

Notable Quotes & Memorable Moments

• On the Bangle's Producer’s Vision:
  “To Kahne, the Bangles were mostly about the vocals. He recorded their harmonies beautifully, but he had the group record numerous takes of their instrumental tracks to perfect them. Or he just brought in studio sidemen to replay the parts.” (09:38 – Chris Molanphy)

• On Prince’s Admiration for the Bangles:
  “He caught their LA gig at the Palace Theater and later told Hoffs that their song ‘Hero Takes a Fall’ was ‘number one in my car.’ Coming from Prince, that's about as high as praise gets.” (10:39 – Chris Molanphy)

• On the Making of “True Colors”:
  “I realized it had to be a voice that whispers to you, a voice that's almost childlike…” (22:55 – Cyndi Lauper)

• On Artistic Frustrations:
  “Nothing is good enough for people like you who have to have someone take the fall.” (56:01 – Amy Mann lyric)

• On Achieving a Tony Award:
  “I want to thank Broadway for welcoming me. You know, this city. I understand how hard you work, and I've never been a stranger to hard work, but your hard work inspires me.” (68:58 – Cyndi Lauper, Tony Awards acceptance)

Timestamps for Important Segments

• Cyndi Lauper at the Grammys/WWF Crossovers: 01:32–03:40
• Lauper’s String of Hits: 03:40–04:52
• Bangles’ Evolution and Producer Influence: 05:18–09:38
• Prince and “Manic Monday”: 09:59–13:03
• Bangles’ Cover of “If She Knew What She Wants”: 13:03–16:05
• 'Til Tuesday’s Sophomore Effort and Amy Mann’s Artistic Growth: 16:05–19:27
• Lauper’s “True Colors” and Its Impact: 22:19–24:42
• Bangles’ Breakthrough — “Walk Like an Egyptian”: 25:56–27:29
• Industry and Chart Declines for Lauper and Bangles: 28:30–35:54
• The Breakup of the Bangles and Solo Efforts: 39:07–45:33
• Amy Mann’s Industry Struggles and Indie Success: 50:34–61:19
• Bangles' and Lauper’s 2000s Revivals: 62:25–68:58
• Cyndi Lauper’s Tony Win: 67:37–68:58

Conclusion: Legacy and Reinvention

The episode closes by reflecting on how all three artists—Lauper, Mann, and the Bangles—ultimately found creative fulfillment and lasting audiences not through traditional record industry channels, but by forging new paths in independent music, film, and theater. Their stories exemplify perseverance, adaptation, and the enduring power of pop craftsmanship. The late-career triumphs—Mann’s Oscar nod and indie records, Lauper’s Tony, the Bangles’ indie reunions—serve not just as comebacks, but as victories for self-determination in the face of an often fickle and sexist music industry.

For listeners seeking a riveting, chart-savvy explainer on how 80s pop heroines navigated fame, mismanagement, and rejuvenation, this episode is a master class in pop history and cultural resilience.