So, this didn’t even pass through my radar until tweeted by Amanda Blank earlier this evening, but I’m certainly glad that it did.

This is Beyoncé Giselle Knowles, surprising a whole host of kids at Harlem’s P.S. 161 middle school.

The students were in the middle of performing her “Move Your Body” workout routine–a re-swizzled version of “Get Me Bodied” that was created in conjunction with First Lady Michelle Obama‘s Let’s Move! Anti-Obesity Project–when Queen Beysus magically appeared inside of the auditorium to dance along with the stunned school kids.

You know, songwriting credit swipes and an overactive ego aside, Beyoncé truly remains a spectacular role model for children. Just watching her interact with the kids in this brief moment…SO nice! SO authentic! It seriously put a smile on my face.

Go on, Queen Beysus!

And while you’re at it, watch the amazing official music video for the song.

Last Friday, I was invited down to New York for an official listening session for Cyndi Lauper‘s upcoming album, Memphis Blues.

The showcase was held at Downtown Records in Manhattan, Cyndi’s new label (and home to such acts as the Scissor Sisters, Amanda Blank, and Miike Snow). “The people here reminded me of the old days…it wasn’t just business as usual,” she’d explain to us later during the listening session of her choice to do this album under this label.

About ten minutes prior to the event, I met up with my friend Matt (The Music Slut himself) who was also invited to the showcase. By ‘met up,’ I mean he found me on the street as I was quick-changing into a new pair of shoes that I bought from TopShop and hurriedly stuffing my old pair into my bag. Got to look sharp for Cyndi, right?

So we got to the label, hurried into the building, and took the elevator. When we got out, we began to walk down a long hallway that led to a lounge which was filled with fliers announcing Lauper’s new record. There were also several gorgeous, moody promo shots from the album campaign, all shot by the incredible Ellen von Unwerth (See Rihanna’s Rated R campaign.) There, we made a beeline for the chardonnay we helped ourselves to the beverages at hand, as well as copious amounts of chips and guacamole.

The real reason I was there.

At around eight, we were invited into the label’s recording studio, where Matt and I took front and center on the comfy couch inside. The room was completely gorgeous–a massive piano, candles everywhere, and an old-timey microphone in the center.

Without any announcement, Lauper came striding in shortly thereafter–or at least her hair did first: a wild, fiery plume of red hair not unlike a more fabulous Carrot Top. She herself was decked out in black leather leggings, an off-the-shoulder black-lace top, and loads of chunky bangles and necklaces. The crowd of about twenty people began to applaud. “Oh don’t, don’t applaud,” she said in her signature New York accent, crinkling her nose and motioning us to cut it out. About five feet in front of me, she perched on the stool in the center of the room and began to tell us about the album we were about to hear.

She told us that Memphis Blues is the album she’d wanted to record since 2004, but that her ability to do so did not come until now. She lost her voice for a time for one thing. She also originally wanted to record with Jeff Beck, but due to business issues, it just didn’t work out. Lamenting the fact that today’s music is more often used “to sell advertising time” than for the love of music-making, Lauper wanted to create a genuine album in Memphis Blues.

After being introduced to someone in Memphis, she went down to record. “I was hungry for real music,” she told us, “and it was an extraordinary moment for me as a singer.” There, she became interested in the sounds that inspired all other forms of music–even her own.

The recording studio. Nice, right?

As she went on, she explained the purpose of Memphis Blues. “Blues is the basis of everything. They started it. It goes back to Ma Rainy…she didn’t create blues, but she created a whole new genre.” Lauper said that she wore the chunky necklaces today in honor of Rainy, who was known as “the woman with chains” and sported a grill well before the term grill was even coined.

For the most part, Lauper solely discussed the album–though she did divert off course a few times. She told jokes about staying at the hotel in Memphis (there were ducks in the lobby!), her experiences in the city (“they love their food, and they love their music”), and struggling to eat said delicious food with her dietitian in tow.

As for Celebrity Apprentice (which she is still currently on), she could only offer us this: “High school is still right there…you grow older, but it’s the same bullshit.”

I want it in my room.

Returning to the album, Cyndi explained that Memphis Blues was recorded on an 8-track to preserve the authentic, older sound, and was recorded with some “wonderful players” including B.B. King, Ann Peebles, Allen Toussaint (“as soon as he played the intro to ‘Shattered Dreams,’ I was in another place”) and some familiar faces to Lauper including Bill Whitman, her engineer ever since the She’s So Unusual sessions. The record will also be released on vinyl to remain true to that authentic sound.

She insisted that everything be left in the recording–wrong lyrics, bum notes–because she wanted to include the spirit of the live session.
“I feel like I was born to sing this stuff,” she concluded after about ten minutes. “This is what I wanted to do as a singer. I hope you enjoy it.”

As she walked out, the music began to play from the speakers in the center of the room. You could immediately hear the slightly crisp crackling of the recording, complete with all of the notes–good or bad–from the singers and musicians. Swaggering guitar solos, flourishes of harmonicas, and jaunty piano riffs colored all five of the tracks we heard, as Cyndi yelped and cooed over the heartbreak-heavy sounds.

Everything, from the swaggering “Just Your Fool,” to the slow, slinkier sound of “Shattered Dreams” and the whining, aching sound of “How Blue Can You Get?” felt rich, alive ,and authentic. She sounds reawakened and full of spirit on each one of these recordings, hollering at the top of her lungs and giggling with glee along with the musicians. Her enthusiasm was infectious, as many of us began tapping our toes to the rhythm and smiling at her vocal antics. From what we heard, it was obvious that Lauper was truly passionate about making this album.

As the fifth song ended, the session was complete and we filed out of the recording booth. Matt and I stayed in the label’s cocktail area, schmoozing with our friend Martha, as well as a few of the other guests. While the 7 p.m. listeners began to slowly dwindle down, the 9 p.m. session started to fill the room. At some point, St. Vincent and Lissy Trullie walked in for the session. Not five minutes after Matt giddily pointed them out to me, St. Vincent was squeezing by to help us open a bottle of bubbly (we struggled with this all night) and chat with us for a bit. Girl knows how to open a bottle, and quick!

Cyndi posing with a rabid fan. He was later carted off by security while screaming “I WANT TO HAVE FUN TOO, CYNDI!” Embarrassing.

Finally, Cyndi resurfaced into the main lounge at around 9 for some chips and dip. At that point, the room was basically empty aside from Matt and I, so took up the opportunity to tell her we enjoyed the record. “No really, did you guys like it?” she asked us sincerely. We said we did, and she looked a bit relieved. You could tell that this was the album she truly did want to make, for no reason other than for the artistry of the affair. “Well, we’ll see,” she said, turning for a quick dip of the guacamole again.

I nervously told her that I really appreciated her making this album because it was important for her fans to hear the influential music from the past that we don’t know from a voice we already recognize and love. “It’s important to know your music history,” she agreed, nodding. Then we discussed her last record for a bit (“Guess radio doesn’t want to hear a fifty year old singing dance,” she shrugged) and the delicious guacamole we were eating.

It was around that time that the second listening session participants were just beginning to file out of the recording booth and invade the lounge. Taking it as our cue, Matt and I thanked Cyndi again and quickly left as the room began to swell with people.

It’s still surreal to me to think that I was chatting with Cyndi Lauper. She is absolutely one of the most down-to-earth, ‘real’ musicians I’ve spoken to thus far.

While I may have been too young to appreciate when Cyndi was first breaking out on the scene (forgive me for aging myself), it’s incredible to believe I was standing with someone so influential–not only within the music scene, but for the gay rights movement as well.

As she said to me, it’s important to know your music history: Cyndi Lauper is a legend. If I wasn’t already in awe of the singer prior to meeting her, I am now.

Memphis Blues will be released on June 22.

It’s the start of a brand new week, Muusers…why not start off with a bang?

TOPMAN CTRL is the musical offshoot of my favorite menswear store, TOPSHOP. Each month, one UK act is invited to take full control of CTRL’s website and organize a live show, complete with all the musical acts the artist of the month is currently digging.

This month’s artist is the multi-talented (and rather cute) producer and DJ, Diplo, responsible for many tracks for M.I.A., Santigold and Amanda Blank, as well as 1/2 of the members of current hipster sensation, Major Lazer.

As for the show, Diplo has chosen four acts to headline his TOPMAN CTRL event at Fabric in London on December 16: Micachu & The Shapes, Benga, Primary 1 and Mumdance. Tickets are still available for purchase here–and they’re cheap!

To celebrate this month’s takeover, TOPMAN CTRL is giving away ONE T-SHIRT, designed by Diplo himself, for MuuMuse readers. The tee is a limited edition (only 50 have been made!), so it’s really quite a collector’s item. (And you know how I feel about rarities…slap on a “Limited Edition” sticker and I’m all but foaming at the mouth.)

To enter to win the tee, send a blank e-mail to muumuse@gmail.com with the subject line “DIPLO!!!” to win. A winner will be selected and contacted at random on Friday, December 18.

Good luck! In the meantime, enjoy this exclusive new track off of the upcoming Mad Decent mix-tape. It’s nice and laid-back…quality mix!

DL: Gucci Mane – Dangers Not A Stranger (Diplo Remix)

Until this summer, Philadelphia-bred mistress of ceremonies Amanda Blank could be found both everywhere and nowhere; a fixture found in the liner notes and “featuring” sections on collaboration tracks from just about every hip-hop tested, indie cred-approved artist since the mid-’00′s, including Santigold, M.I.A., Spank Rock, Pase Rock, Ghostface Killah, and N.A.S.A.

As a result, Amanda Blank is an artist inexorably linked to her mix-tape origins: Put together the in-your-face, Cristal and cocaine drunk-pop of Ke$ha, the funk and grind sound of album producer Diplo, the super-slick badassery of Peaches, and perhaps even the cool breathiness of Britney Spears on the chillier grooves, and you’ve still only got half of what Blank’s all about.

Within seconds of hearing the garage-rock-gone-hip-hop intro of “Make It, Take It,” it becomes all too clear that we’re in for a sweat-drenched, sex-stenched affair on Blanks’ long-overdue debut, I Love You. Tracks including the throbbing, pistol pumping “Something Bigger, Something Better” and electro-jittery “Might Like You Better” are at the very least danceable–at their best, nearly irresistible. Even the faithfully minimal cover of “Make-Up” off of the 1982 debut of Prince‘s short-lived sexperiment Vanity 6 inspires moments of vogue.

But this collection isn’t all about the mmphing and, shockingly enough, benefits most from the few breathers in between. The bleary-eyed, post-consummation contemplation of “Shame On Me” is the best track Britney’s never recorded, while the neurotic-friendly “DJ” proves a luscious dancefloor treat riddled with all the best reasons to dance the pain away–anger, bitterness, and sorrow.

It’s midway through however, when Blank gets down to business, unleashing her signature unstoppable lyrical flow on the Spank Rock-assisted track, “Gimme What You Got,” and “Lemme Get Some.”

This, after all, is the meat and potatoes of her craft: Amanda Blank is a talented artist. Not only can she spit out verses faster than most male rappers in the industry, but she commands a devastating mastery of rhythm and flow–plus, she’s a seemingly fearless lyricist. The only problem is that there simply isn’t enough of that grit to go around. A few harder numbers would have done wonders here, especially considering the wide range of tracks we’ve heard from her over the years.

The album’s final moment is also its most unexpected: “Don’t act so surprised,” Blank croons along with Swedish delight and MuuMuse favorite, Lykke Li on “Leaving You Behind” as the gentle guitar strums away into nothingness. I just can’t help it, Amanda–I’m considering this album the surprise of the summer.

DL: Amanda Blank – Something Big, Something Better
Choice Tracks: “Something Big, Something Better”; “DJ”; “Shame on Me”; “Might Like You Better”

Purchase I Love You on iTunes | MySpace

And now for the cheap (but not at all in a bad way) video for Amanda Blank‘s “Might Like You Better,” off of her all around fantastic debut, I Love You (which I hope to get around to reviewing properly sometime soon).

It involves silver balloons, squiggly lines, and a heavy dose of black lipstick. And what do you know? That’s all you need.

Purchase “Might Like You Better” on iTunes | MySpace