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Friday, June 5, 2026
The Observer

Scene


The Observer

Britney gets the people going

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Editors note: In the wake of Britney Spears' new single and Kanye West's recent outbursts (not to mention all of Miley's antics), the Scene Staff simply couldn't find a way to deal with the pop-culture chaos. While the rest of the staff sat paralyzed, anxiously awaiting the premiere of Britney's new music video and still processing Kanye's"Yeezus" publicity tour sound bites, two brave Scene writers rolled the superstars into one big, brave (and, it must be noted, satirical and fictional) column. 



The Observer

Breaking Bad's' R.J. Mitte talks disability, bullying and hope

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Before R.J. Mitte's Q&A session even ended, a line already stretched out of the Washington Hall theatre, down the stairs and almost out of the building, with everyone waiting for an opportunity to shake Mitte's hand. Best known for his role as Walter Jr. (or Flynn) of the Emmy-award-winning show "Breaking Bad," Mitte came to campus Tuesday evening to discuss the effects of bullying as well as to advocate against cruelty toward the fellow man last night courtesy of SUB. Mitte expressed to students and all in attendance the true capability of humanity, of how he - as a man living with cerebral palsy - has fought to attain and remain in a position that few, disabled or otherwise, could ever hope to have. Mitte talked about the popular series, which concluded Sunday evening, in addition to his anti-bullying message. "I loved the finale. I thought it couldn't have been any better. I really couldn't ... I think it ended perfectly. It ended the way it needed to end," Mitte said. However, anyone who watched the show knows that does not necessarily mean a series finale filled with a picture-perfect ending, where everyone lives a decent, modest life of simple happiness and innocence. "This show was never going to have a happy ending. When you live in a world of violence, you come out to a world of violence. Once you start going down that slope, once you start getting in bed with these people, they won't let you leave," Mitte said. Mitte is no stranger to violence. A victim of bullying ever since he was young, he had to endure the pain of having his feet stomped on and hand broken because of his cerebral palsy. Mitte insists that there are countless forms of bullying - be it physical, emotional, cyber, verbal or even the types that people will never see or hear about. "When they do happen," Mitte said, "people don't realize the damaging effects - the long term effects - bullying has on people. Bullying only adds to what they're dealing with on a daily basis. Eventually they're going to retaliate. They're not going to retaliate at the bully. They're going to retaliate at the people they care about the most," Mitte said. However, Mitte understands that this is not an impossible problem to solve - people are available to help. Mitte considers himself lucky for having family and friends to go to battle with these bullying-victims. People are around that want to get involved. Unfortunately, as Mitte says, for as many people who do want to get involved, there seem to be an alarmingly large number of people who will just watch. "I remember, I was about 14 years old, and we were at a farmer's market. This older woman, she fell, and these people were literally stepping over [her]. They wouldn't help her out. She wasn't asking for help, but she was lying down on the ground." Mitte said. Mitte was the lone person in the entire vicinity to take initiative; it was then, he says, that he realized that that was the world we lived in - where people will step over each other. People will not think about each other. And Mitte understands that this may be what people are inclined to do, to not do. Yet Mitte encourages people to be involved. Even if it may not be the easiest choice, Mitte implores people to get involved and offer their help. "You see someone who's getting picked on, that's when you get involved," Mitte said. However, Mitte did not come to simply talk about sensitivity to those who may seem disabled; he also offered his wisdom on the capabilities of men and women, whether or not they are able-bodied. Mitte's own battle has - and will continue to be - a life-long journey. "I was 3 when I was diagnosed with my disability. I grew up dealing with OT (Occupational Therapy), speech therapy, all different types. Dealt with bullies, dealt with people telling me I wouldn't amount to much - even my own father - and I've shown them. And at the end of the day, there's one thing to remember; there's another one. One more day, one more person trying to stop you, one more person trying to take what you have. The trick is to fight for what you believe in, to fight for what you have, to fight for who you surround yourself with," Mitte said. Mitte has fought hard, putting himself in a position to succeed, and cites his own drive and ambition as a reason for his success - a drive that is, according to him, characteristic of anyone with disabilities. "People want to stand on their own two feet. It's even more so with a disability. They've had so many people cutting them down, saying, 'You can't do this. Someone without a disability should be capable of 10 times more than someone with a disability. But the thing is, you see more people with a disability with lower options fighting for a better future. They actually are fighting to get what they need. Most people are not willing to fight for what they need," Mitte said. Mitte, however, has been fighting a continually long fight - for equality. "Equality is the biggest fight. Disability, race, religion, no matter what it is: at the end of the day, equality is the biggest fight. Once you understand equality, once you have equality, there shouldn't be any doubt. It's one of those things that one problem can fix many," Mitte said. Mitte knows his fight isn't going to end anytime soon, but he said it's a fight worth fighting for, and it's not one he's going to give up on. "Equality means respect. Respect is equality. When you have respect for people around you, without labeling, without seeing them as 'the minority': that's equality. We all bleed the same blood. I've never seen a baby push someone away ... Equality has been a fight for thousands of years. It will not be fixed over night. It will not be fixed by one voice. It will be fixed by thousands of voices. It will be fixed by multiple ideals, multiple people, multiple belief systems. That's when we'll have equality," Mitte said. As Mitte talked about these ideas and his hopes for the future - no matter how distant - a certain look in his eyes betrayed a wisdom and patient determination beyond his 21 years. No matter how long, no matter how distant - Mitte is willing to fight everyday. Contact Miko Malabute at mmalabut@nd.edu 


The Observer

Timberlake's follow-up falls flat

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As I write this review, my room is flooded, thanks to quality North Quad plumbing, but I would honestly rather deal with that mess than listen to Justin Timberlake's "The 20/20 Experience - 2 of 2" again. There are definitely a few gems on the album, but all together it is exhaustingly long and loses its appeal rather quickly, failing to leave any lasting impact on listeners. 

The Observer

On The Verge to Glory

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The Observer sat down with senior film, theater and television major and director Renee Roden to discuss her student-produced play "On the Verge," by Eric Overmyer, her first production through the Department of Theater at Notre Dame. 



The Observer

Aaron Brings Party To Feve

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Club Fever: usually a place of sweaty bodies, sticky floors and life decisions you find yourself regretting as soon as you hop into the cab back home. 



The Observer

Not Exactly Pop Icons

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There's always a feeling of anticipation when a one-hit wonder drops a new album. It's this little fizz inside you that is so hopeful, wanting another 11 copies of that one song you just couldn't get out of your head. But, let's be honest, one-hit wonders are one-hit wonders for a reason.


The Observer

Ugh, Gym Music

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Maybe it's because I'm not terribly athletic, maybe it's because I come off as a bit of a klutz or maybe it's just my obsession with pizza. No matter what it is, I can assure you that no one would ever look at me and think, "That girl definitely likes to work out!" But guess what, everyone? I enjoy exercise most of the time. Maybe I don't do it enough (okay, I definitely don't do it enough), but I have nothing against going for a run or hitting the gym, even upon learning in P.E. freshman year that free weights aren't exactly my thing. So, now that it's clear that I do not hate exercise, I will confess to you there is something about "getting swoll" that I do absolutely despise (besides the phrase "getting swoll"). No, it's not the fact that everyone stares at themselves in the mirror all the time. It's not even that extremely traumatic moment when you're running and your ear bud gets ripped out of your ear. It's the music. I hate gym music. Maybe this is just my experience, but music played at gyms always seems to be a blend of top 40 hits, bad house music and old Katy Perry songs. Also, I think it might be against the law in the state of Indiana to teach a fitness class and not include at least one Ke$ha and two Pitbull songs. I don't know who is responsible for picking tracks at fitness centers or passing those speculated laws - my theory is that it's all Richard Simmons - but I have given up hope in thinking that I'll ever hear something quality while exercising. Sometimes I tell myself that these awful, awful song choices are actually a good thing - bad music can fuel a hate-fire within and motivate you to do more. A bad song can inspire you to hate-run another mile, hate-lift another rep or hate-dance your heart out to that one really bad Zumba song you've never liked. Another upside is that if a workout is particularly excruciating, at least it won't forever be associated with a great song. It's never fun to force a tune into early retirement because you experience phantom muscle aches and painful flashbacks every time it comes up on shuffle. Still, occasionally, I just want to hear some songs I like while working out. Because of this, like almost everyone, I've taken the exercise playlist into my own hands. But as an avid fan of slow, weird alternative music, it's not always easy to track down the right songs that will get you pumped for a workout. I learned, for example, that no matter how you try to get a good pace running to Fleet Foxes, it's never going to happen. If you're like me and need a little help finding something upbeat, the internet has come to our rescue. Running music websites like jog.fm exemplify the wonders of modern technology by giving its users the tools to customize any run, ride or workout playlist to fit any and all music needs. The site lists exclusively upbeat songs you can work out to and organizes tracks by beats per minute. This way, you make a playlist with a consistent tempo or even preset an overly ambitious mile time for your run that you'll later regret! Best of all, you can filter by genre or look through premade playlists to discover the best workout music you've never heard. Contact Allie Tollaksen at atollaks@nd.edu The views expressed in this column are those of the author and not necessarily those of The Observer.  


The Observer

Mechanical Bull' Rocks Out

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Before I get into the nitty-gritty of this review, I must personally say that I have been fanboying over "Mechanical Bull" since it was first announced back in June. Even though Kings of Leon's previous release, "Come Around Sundown" was dull at best, I have had extremely high hopes for this sixth studio album. The band has had some rather emotional experiences over the past two years, and a mechanical bull seems to be a near perfect way to describe it. On a deeper level though, the title represents the group's intentions to shake things up with this album and move forward with their sound. These intentions are made obvious with the leadoff track and the first single from the album, "Supersoaker." The song captures the raw feral energy the band possessed in its first few records, while also emulating the smooth, refined choruses of "Only By the Night." While "Only By The Night" did push Kings of Leon into the international spotlight with the hits "Use Somebody" and the infamous "Sex on Fire," a good majority of the album lacked intensity and energy. With "Mechanical Bull," Kings of Leon has combined all of their best elements to produce a record with an eclectic mix of songs that not only have a fun energy about them, but also reflect the band's experience. Part of the fun of listening to this album is the swinging, bluesy throwback sound that the Kings invoke in songs like "Family Tree" and "Rock City," which isn't about Los Angeles, Detroit, or New York, but the band's hometown of Nashville. Kings of Leon really rock the southern sound, mixing the influence of bands like Lynyrd Skynyrd and the Allman Brothers Band to give all their songs on this album an upbeat driving force. One of my personal favorites off this album is "Temple," a rocking arena anthem that has a bouncy rhythm and fun guitar hooks. But even the slower stuff on "Mechanical Bull" is very solid and great to listen to. Specifically, "Tonight" is a passionate song which draws upon the darker sounds of "Only By the Night" but feels fresher and more polished. The best song from "Mechanical Bull" by far is the ambitious "Comeback Story," which is a neat little reflection of the band's shakeup since lead singer Caleb Followill's alcoholic breakdown in the middle of a show in 2011. The song makes good use of darker tones, a jamming guitar, and an echoing whistling chorus to create a terrific sound. It also gives rise to the clever couplet "I walk a mile in your shoes/ now I'm a mile away and I've got your shoes". At this point, I've basically praised almost every song on the album. And honestly, this is an album that deserves the acclaim. This is the most fun, energetic, well-produced record the Kings have had since "Aha Shake Heartbreak" way back in 2004. The band creatively blends two guitars to make some sick riffs to push their music forward into new territories. Caleb's vocal work is superb as usual, but it seems as the focus of the music has shifted from featuring his voice toward highlighting the overall harmony of the band, which is a great change and makes everything more special. Simply put, this album is awesome and is definitely worth a listen. Contact Jimmy Kemper at jkemper2@nd.edu  


The Observer

Bringing Dante to Life

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Certain literary pieces were intended to be heard, not read. For many, the works of William Shakespeare are nearly impossible to fully comprehend until brought to life on stage. Similarly, the words of Dante's "Divine Comedy" deepen in meaning when read aloud to an audience. This is the idea behind the Italian Studies Department's "Dante Now!" event happening this Friday all around campus. "Dante Now!" features Italian language students (and anyone else who wants to join) performing pieces of Dante's "Divine Comedy" in Italian from 2:00-3:00 pm. "From a linguistics point of view, it helps students get used to talking in the formal, standard language that was based on Dante," said Anne Leone, Italian Studies Research Assistant Professor and one of the organizers of the event. The students have a chance to practice their language skills while indulging in one of the most important aspects of Italian culture. Dante is to the Italians in some ways what Shakespeare is to the British. Just as the British annually recreate the Shakespeare plays, there is a group in Florence, Italy, that publicly performs Dante every year. It was these Florentines who inspired the project here at Notre Dame. "It has such a foundational place in Italian culture. Maybe it's so much a part of their culture that they don't think about it," Leone said. Performing the "Divine Comedy" builds a community within the Italian Studies department, as they are able to bring to life something so integral to the culture. "The Dante Now! Program is important precisely because it brings the Notre Dame community and the local and visiting communities together and in communion with each other, with Dante, and the beauty of the Italian language," senior Christian Coppa said. Performing Dante in this way makes it into an artistic exhibition that allows even inexperienced speakers to join in. "People can hear the musicality of it even if they don't know the language," Italian Studies graduate student Xiaoyi Zhang said. Last year, the event certainly caught the attention of spectators. "One guy saw us at the KnuteRockne statue and said he'd never seen anything like this before and joined in with us and started following the group," Ph.D. student Courtney Smotherman said. The performances end when all nine performance groups meet at the Grotto to say the Prayer to the Virgin from the end of Dante's "Paradiso." For Leone, Zhang and Coppa, this was the most memorable part of the event. "It was a powerful instance, for me, of what makes poetry, and Dante's poem in particular, so special," Coppa said of the final recitation. "Seeing how students alike not only relished in the beauty of the poetry, but in some cases prayed the poem, opened up new meaning for me personally." Bringing the performance to end in what is arguably one of the most important communal parts of Notre Dame's campus reinforces the community aspect of the event. According to Leone, performing the "Divine Comedy" as a group reflects the message of the story itself. The poem begins as Dante's individual crisis, where another person saves him. The poem is his attempt to save the souls of other people. Similarly, in the reading aloud of Dante, the story comes alive not only for the reader but the audience as well. "It makes you want to Wikipedia Dante," Zhang said. The event closes with an illustrated lecture on Dante's "Inferno" at the Snite Museum of Art given by two Notre Dame professors and one visiting professor, which helps the students and audience members visualize the scenes they've been hearing. Dante Now! begins at 2:00 p.m at various locations around campus. Each performance takes about seven minutes and the performers will move locations every 20 minutes. Many of the performers will be wearing red Dante hats with golden laurels, so don't be afraid to stop by and listen. Contact Caelin Miltko at cmoriari@nd.edu 


The Observer

Nothing Was The Same' fails to deliver

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After listening to Drake's hotly anticipated new album, "Nothing Was The Same," I sat at my desk feeling duped. Like a 19th century company claiming its cigarettes could cure asthma, or a Pizza Ranch convincing people its food doesn't cause cardiac arrest or spontaneous combustion, Cash Money Records snared me in the sticky web of false advertising. Drake's new album should not be named "Nothing Was The Same." It should be titled, "Nothing Was Above Average."


The Observer

#WeirdEmmys

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There's no way of getting around it. The 65th Annual Primetime Emmy Awards, which aired Sunday night, got really weird. Perhaps Neil Patrick Harris put it best when he announced, "This just in: No one in America is winning their office Emmy pool."


The Observer

CHVRCHES produces epic pop

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You're sitting there, in life. You're reading and blinking and breathing and yawning. The world around you is a giant parking lot of normalness.


The Observer

The world still needs superheroes

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To anyone paying attention to the comic book industry's recent success in the box office, it should be immediately apparent that Marvel is the top dog in comic book hero films as of late.  It seems that there is an unrelenting slew of Marvel movies in theaters, each better than the last. Of course, the climax of their recently established successful franchises was the Avengers movie released last summer, however, more important than the monetary success that this film no doubt achieved was the fact that Marvel clearly showcased the brute strength it has accrued in recent years.


The Observer

Aaron Carter at Fever

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I hear "Aaron Carter" and the name resurrects memories of my eight-year-old self hooked into a Walkman, listening to the then-13-year-old pop star with the bleached blond hair, bopping around stage, swearing he was "tellin' me the facts" in his chart-topping hit "That's How I Beat Shaq." The album "Aaron's Party (Come Get It)" had a couple more gems, including that unforgettably profound refrain "I want candy" in the song with the same title. Back then, I assumed it referred only to the junk-food aisle at the supermarket and not anything romantic, but I found it moving nonetheless. Carter is slotted to perform at South Bend's Club Fever at 6 p.m. tonight as part of his comeback tour after eight years off. In a phone interview Friday, he promised fans would hear "all the good old songs," including his personal favorite hit "Aaron's Party." Which, coincidentally, still has a place in my iTunes library. "Of course I'll play the old stuff, oh yeah, absolutely," Carter said. "Yeah, that's a given. I can't not do that. The show will be a little bit of cover music, a little bit of old music and a bit of new stuff as well." The eight years that have passed since he first smack-talked NBA legends changed his performing style (and the pitch of his voice), but Carter said he's back on tour with one main goal - reconnecting with his fans after the hiatus. "That's what brings me all over right now on my tours," he said. "You know, I haven't been on tour in, like, eight years, so I'm just trying to get back into it and see everybody." He wouldn't say he's spent the past eight years off the radar, though. He and his brothers starred in the 2006 E! Network reality show "House of Carters" and in 2009, he took fifth place in "Dancing with the Stars." From Oct. 2011 until Feb. 2013, he starred in the off-Broadway play "The Fantasticks" in New York City. "I did 'The Fantasticks' for, like, over 400 performances," Carter said. "I was the lead and it was a love story. It was awesome; it was fun doing it. It was definitely challenging, but it strengthened my vocals and helped me as a performer overall." Performing in a theater is "a much different world" than the pop concert venue, he said. "In Broadway plays, people go in and they sit down and they clap for you, you know? It's not, like, screaming and throwing stuff on stage," he said. "It was definitely something to adapt to, but I didn't really want to become completely acclimated to it because I like performing for screaming girls too." Carter said he "hopped right on tour" after his run with "The Fantasticks" ended so his fans could have the chance to see him as he is now instead of maintaining that image of him performing as a child star. "I don't want my fans to expect me to be 12 anymore, because that's not the case, you know?" he said. "I'm not 12, I'm not 15 anymore. I'm going to be 26 at the end of the year. "Fortunately, I've always been able to transition with my fans because a lot of them grew up with me too. I started performing when I was six, and then I did two albums in my teenage years and now it's time to make a transition in my adulthood." Carter at his peak was a child star at the level of Lindsay Lohan and Hilary Duff (both of whom he dated, coincidentally), the predecessor of today's Justin Biebers and Miley Cyruses. He listed songs by Daft Punk, Robin Thicke's "Blurred Lines" and Bruno Mars' "Treasure" as some of his favorite current music and said he "couldn't wait" to perform in South Bend tonight. Ironically, although some might say I'm "too old" to be an AC fan, I'm still too young to be allowed into Club Fever for the concert. I'll have to live vicariously through the minions that will undoubtedly pack thetclub, so if nothing else, just go because you know your eight-year-old self would have. Doors open tonight at Club Fever in South Bend at 6 p.m. Tickets can be purchased online at ticketmaster.com or at the door tomorrow for $15. Contact Ann Marie Jakubowski at ajakubo1@nd.edu The views expressed in this column are those of the author and not necessarily those of The Observer.  



The Observer

The KickBack: "From Here to Now to You"

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If I ask you to associate the words "kick back" with a single musician, survey says Jack Johnson would come back 75 percent of the time. No matter the song, album or venue, Jack Johnson plays the tunes of a kick back. 


The Observer

The Show Must Go On

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With the loss of several fan favorite comedians and the transition of Seth Meyers from the Weekend Update to NBC's "Late Night" show, Saturday Night Live is set to be revamped with some of the biggest changes in its almost four-decade long history.