Scene

Killing Them Softly:" impressive story and performance

Where are they now?

Mannheim Steamroller

Sleepwalk with Me shows the serious side of being funny

Listen While They're Young

Some things in life are inevitable, even if we don't know the specific details. We know the Irish will play for a national championship, but we don't know whom against. For us seniors, we know we are going to graduate, but we may not know what our next step is. I know I am going to eat dinner, but I don't know what I am going to have. And one day, we know One Direction will probably break up as a boy band, but we don't know when. Music groups have a tough time staying together, and One Direction will probably be the same. After all, N*SYNC did it. Destiny's Child didn't last, and neither did the Jonas Brothers (although they still actually are brothers). One day Niall, Liam, Zayn, Harry and Louis will stop performing together and go their separate ways. But for now, we get to enjoy the infectious ear candy these British teenyboppers produce. Just a year after releasing their first album "Up All Night" the boys are at it again, coming out with their sophomore effort "Take Me Home." For the most part, it's a solid, if not spectacular, effort. With One Direction, you get what you would expect with a boy band. There are catchy tracks, indistinguishable vocals and not a whole lot of substance. That being said, "Take Me Home" is pretty fun when you accept it for what it is. "Live While We're Young" is the lead single off "Take Me Home" and it is a solid example of One Direction sticking to what they do best. Just like Michael Jordan was great at basketball and James Bond excels at saving the world, One Direction is at their best when they unleash catchy sing-along jams, and "Live While We're Young" is the type of song you get stuck in your head for the day. All in all, it's the strongest song off "Take Me Home." The second single off the album, "Little Things," is a step in a different direction than "Live While We're Young." Whereas the latter is danceable, flirty and fun, "Little Things" slows things down and tries to be heartfelt but comes across as plodding and tedious. One Direction should stick to their guns and do what they do best - poppy songs that make you want to dance, or at least aren't dreary. For example, "Summer Love" is not a fast track by any means, but it is much more listenable than "Little Things" because it is bright and uplifting. For the most part, One Direction sticks to the formula of bright and flirty songs. Other standouts off the album include "Kiss You" and "They Don't Know About Us." The former is a sunny ode to young love and the latter starts quietly but builds to a slow jam. If the themes in the song titles seem a bit repetitive, it is because they are. One Direction knows their target audience of screaming teenage girls and aims perfectly. The songs off "Take Me Home" may be starry-eyed, but they are young and fun. That being said, there is a sort of wink with these songs that acknowledges the boys and their audience are maturing. The album title is one such example, and also on "Live While We're Young" they sing "And if we get together, yeah get together/Don't let the pictures leave your phone." Adapting to an audience who is growing up with these boys is crucial, and it's a step in the right direction (pardon the pun) for One Direction to go where there audience is going. They can't stay together forever, but they are staving off the inevitable for that much longer. "Take Me Home" isn't groundbreaking, earth shattering stuff. It's a boy band doing what boy bands do best - singing about young love over slickly produced tracks. That isn't a complaint, just a fact. Fortunately, One Direction does a pretty good job of executing this task, and teenage girls (and boys, and their moms and so forth) should be forever grateful. One day, Liam, Niall, Louis, Zayn and Harry will no longer be the pop culture phenomenon they are now. They'll grow up, and a new set of fresh-out-the-oven heartthrobs will take their place. But for now, One Direction is the musical flavor of the moment, so you might as well enjoy them while they last.  

Let Time Fly with 'One Night'

After apparently living underneath a rock this entire time, I was finally turned on to Timeflies and was urged to take a listen to their new album by a friend of mine (Here's your shoutout, Dawson.) With the release of their new EP, "One Night," the feel-good, electrorap  duo-or as they describe themselves, the "Electro Hip Hop Pop Dub-Something"-put together a compilation of six tracks to make for a pleasantly surprising and thoroughly enjoyable experience. The sophomore effort opens with the title track "One Night," as lead vocalist Cal Shapiro sings with an almost distant croon, immediately wearing his heart on his sleeve and baring his feelings to the audience. He says, "Where are we now/ I can't calm down, I'm dreaming/ They scream so loud/ I don't know how I'm breathing." These emotions feel so raw and desperate (something that I haven't usually found to be characteristic of electro-anything music). Already this mystic atmosphere is painted in the listener's mind ­- bright, vivid, and painful. With this, Timeflies makes a very clear case as to why they've captured the attention of listeners all over (and myself as a late arrival to the party): beautiful, haunting lyrics by Shapiro and pensive guitar strings by producer Rob Resnick, which evolve into some fist-pumping synthesizers against the repeated "I need one night!" and boom-claps that really do bring excitement and a multifaceted quality to the track. Mind you, this is just my first impression after the first track. Immediately after is a complete switch-up, with a shoe-in dorm party song "Swoon." All the most likeable qualities of a good party song are alive and well in "Swoon," with rhythmic blasts of the synthesizer against strings currently making me bouncing in my seat, bobbing my head to the almost smooth whisper, "Let me see you swoon." With that said, there is no definite categorization of this project as a whole: this is not a "party" album, nor is it exclusively "chill" or otherwise.  The inability to limit this to one adjective is where the beauty of this project lies (which shouldn't come as too much of a surprise, seeing as how it is simply an EP): This is easily a project that could appeal to many people, for virtually any mood.   As a first-time listener, I'm immediately sold on Timeflies, as they seem to go against the grain of any typical genre of music - they're not too simplistic and solely bent on being catchy, as average electro music is; they don't drone on and clash horribly with the background harmony, or mangle attempts at melody as how hip-hop sometimes ends up being; and they certainly do not seem to produce the wrangled cacophony that dub-step might give rise to. Their self-description as "Electro Hip Hop Pop Dub-Something" is precisely what they are.  And if you scratch your head at that, then I believe that's the point:  They aren't any one genre, but a wonderful combination of so many, indescribable as a category.   Even as an EP, surprisingly there's no sign of any filler songs, only six quality songs, each a standout in its own right. Timeflies' sophomore effort "One Night" EP is a very solid project, one that I thoroughly enjoyed and one that made me a fan after one time through.  It is unlike any of the electro/pop music out there now, in the best sense. I would be remiss in my duty as Scene writer if I didn't end on either a witty or cheesy note, so allow me this:  Let yourself listen to the first song in "One Night" EP, and watch the time fly.  

Download, Listen, Discard

Download Taylor Swift's newest album may carry the label of "country," but if this blatant pop effort can pass as country music, then Nicholas Cage can call himself a groundbreaking actor and I can start telling people I play defensive line for the New York Giants. For example, "I Knew You Were Trouble" is the typical catchy, sassy, borderline-angsty track Taylor Swift fans have come to enjoy, but its use of dubstep shows the true extent to which "Red" is actually a pop album. "22," Swift's song about living it up and enjoying youth, could have been pulled straight from a Katy Perry album, and will no doubt find its way to the top of the charts soon enough. Not to harp on this subject much longer, but you certainly wouldn't see an artist like Kenny Chesney do a collaboration with Skrillex. Drop the act, Taylor, you've gone pop. Acknowledging this reality, "Red" is still a highly enjoyable, download-worthy album. My favorite tracks, "Red" and "All Too Well," are classic Swift "love lost" songs, but without the whiny, passive-aggressive edge that annoyed me early in her career. Swift seems to be maturing in her perspective on relationships, emphasizing the good times and lessons learned rather than the fighting and dysfunction. The notable exception would be "We Are Never Ever Getting Back Together," a party-ready track telling the story of an on-again-off-again relationship. By diversifying her sound and subject matter, Swift has expanded substantially into the pop realm. Whether this fact makes you happy, or makes you want to leap off the top of Stepan Center, be prepared to hear "Red" for months to come. Listen Some may know Phillip Phillips from his victory on the 11th season of "American Idol," but my first exposure to this talented singer/songwriter came watching last year's summer Olympics. Phillips' hit song "Home," which weaves together soft vocals with the folksy, boot stomping sound of Mumford and Sons, served as the unofficial song of the U.S. women's gymnastics team, and quickly became one of my favorite tracks of the summer. Why was I watching women's gymnastics? For the same reason every young male across the country tuned in: the beauty... of the sport. Yeah, that's it. None of the tracks on Phillips' new release "The World from the Side of the Moon" can rival "Home," but that doesn't mean the album isn't worth a solid listen. My other favorite song, "Man on the Moon," is a light, jazzy track laced with Phillips' skillful acoustic guitar playing. In both "Man on the Moon" and "Get Up Get Down," Phillips's throaty voice, carefree vibe and suggestive lyrics actually make him sound shockingly like Dave Matthews. Overall, "The World from the Side of the Moon" is nothing revolutionary, but its lighthearted sound and themes of life, love and self-discovery make the album an enjoyable listening experience. Discard Kid Rock rose to fame as the king of trashy, generic hillbilly rock, and his new album "Rebel Soul" has done nothing to steer him from this course. The album also did nothing to alleviate my moderate to severe hatred of his music. Many of the songs on "Rebel Soul," including the eloquently named "3 CATT Boogie" or "Cocaine and Gin," sound like something they would play in the bathroom of a Famous Dave's restaurant, riling up yokels as they pick spare ribs out of their assorted-colored teeth. I was also slightly disconcerted by the song "Let's Ride," a so-called battle hymn for troops stationed in the Middle East, and its accompanying music video. The song tells troops to pick up their guns and "let their conscience be their guide," accompanied by images of tanks juxtaposed with Muslim women in traditional garb. There's a line between being patriotic and being culturally insensitive, and I'd suggest Kid Rock let this song fade out before visiting the Middle East anytime soon. Kid Rock's ode to his home of Detroit in the aptly named "Detroit, Michigan" contributes to the album's spectacularly underwhelming nature. I don't have anything against Detroit, but I do have something against bad music. Maybe my impression was irreversibly damaged by the fact that, upon typing "Detroit, Michigan" into YouTube in an attempt to find the song, the first result was "Detroit, Michigan ghetto." Overall, "Rebel Soul" is the definition of white-bread hick rock. Unless that kind of music floats your boat, or I guess I should say floats your tractor, steer clear of this album.  

Download, Listen Discard

Download Taylor Swift's newest album may carry the label of "country," but if this blatant pop effort can pass as country music, then Nicholas Cage can call himself a groundbreaking actor and I can start telling people I play defensive line for the New York Giants. For example, "I Knew You Were Trouble" is the typical catchy, sassy, borderline-angsty track Taylor Swift fans have come to enjoy, but its use of dubstep shows the true extent to which "Red" is actually a pop album. "22," Swift's song about living it up and enjoying youth, could have been pulled straight from a Katy Perry album, and will no doubt find its way to the top of the charts soon enough. Not to harp on this subject much longer, but you certainly wouldn't see an artist like Kenny Chesney do a collaboration with Skrillex. Drop the act, Taylor, you've gone pop. Acknowledging this reality, "Red" is still a highly enjoyable, download-worthy album. My favorite tracks, "Red" and "All Too Well," are classic Swift "love lost" songs, but without the whiny, passive-aggressive edge that annoyed me early in her career. Swift seems to be maturing in her perspective on relationships, emphasizing the good times and lessons learned rather than the fighting and dysfunction. The notable exception would be "We Are Never Ever Getting Back Together," a party-ready track telling the story of an on-again-off-again relationship. By diversifying her sound and subject matter, Swift has expanded substantially into the pop realm. Whether this fact makes you happy, or makes you want to leap off the top of Stepan Center, be prepared to hear "Red" for months to come. Listen Some may know Phillip Phillips from his victory on the 11th season of "American Idol," but my first exposure to this talented singer/songwriter came watching last year's summer Olympics. Phillips' hit song "Home," which weaves together soft vocals with the folksy, boot stomping sound of Mumford and Sons, served as the unofficial song of the U.S. women's gymnastics team, and quickly became one of my favorite tracks of the summer. Why was I watching women's gymnastics? For the same reason every young male across the country tuned in: the beauty... of the sport. Yeah, that's it. None of the tracks on Phillips' new release "The World from the Side of the Moon" can rival "Home," but that doesn't mean the album isn't worth a solid listen. My other favorite song, "Man on the Moon," is a light, jazzy track laced with Phillips' skillful acoustic guitar playing. In both "Man on the Moon" and "Get Up Get Down," Phillips's throaty voice, carefree vibe and suggestive lyrics actually make him sound shockingly like Dave Matthews. Overall, "The World from the Side of the Moon" is nothing revolutionary, but its lighthearted sound and themes of life, love and self-discovery make the album an enjoyable listening experience. Discard Kid Rock rose to fame as the king of trashy, generic hillbilly rock, and his new album "Rebel Soul" has done nothing to steer him from this course. The album also did nothing to alleviate my moderate to severe hatred of his music. Many of the songs on "Rebel Soul," including the eloquently named "3 CATT Boogie" or "Cocaine and Gin," sound like something they would play in the bathroom of a Famous Dave's restaurant, riling up yokels as they pick spare ribs out of their assorted-colored teeth. I was also slightly disconcerted by the song "Let's Ride," a so-called battle hymn for troops stationed in the Middle East, and its accompanying music video. The song tells troops to pick up their guns and "let their conscience be their guide," accompanied by images of tanks juxtaposed with Muslim women in traditional garb. There's a line between being patriotic and being culturally insensitive, and I'd suggest Kid Rock let this song fade out before visiting the Middle East anytime soon. Kid Rock's ode to his home of Detroit in the aptly named "Detroit, Michigan" contributes to the album's spectacularly underwhelming nature. I don't have anything against Detroit, but I do have something against bad music. Maybe my impression was irreversibly damaged by the fact that, upon typing "Detroit, Michigan" into YouTube in an attempt to find the song, the first result was "Detroit, Michigan ghetto." Overall, "Rebel Soul" is the definition of white-bread hick rock. Unless that kind of music floats your boat, or I guess I should say floats your tractor, steer clear of this album.  

Know Thy Shelf

After years spent trying to justify my love of literature, I finally had that moment. It was an elusive but completely satisfactory second of pure realization and vindication. When I read Martha Nussbaum's essays on "Cultivating Humanity," it was like God had rolled back the sky like a scroll, reached down and stuck a big "OK" stamp on my English degree. Martha Nussbaum is a liberal humanist who tackles the influence of literature, but without the alienating academic garble. She is one of us. She doesn't use words like "solipsism" or "autolatrist." Her sentences are reasonably sized and don't abuse the comma like it's her job (ahem, Hemingway). Nussbaum's chapter on "Narrative Imagination" highlights how everything we love about books can actually work for the greater good. For Nussbaum, the imagination is vital in order to be a cultivated citizen of the world. As Aristotle wrote in his "Poetics," literature shows us "not something that has happened, but the kind of thing that might happen." But Nussbaum theorizes that literature doesn't just show us what might happen, but what should happen. Think about all the times you sat on the edge of your seat, enraptured by whatever book you're reading. You tune out the world, shun your friends and maybe even deny yourself proper hygiene, all because you just have to know what happens. John Grisham and Nora Roberts have turned this kind of suspenseful writing, be it mysterious or romantic, into a very comfortable livelihood, but that does not discredit the theory behind their success. Nussbaum says imagination makes readers invest themselves in characters and "inspires intense concern with the fate of characters and defines those characters as containing a rich inner life." It doesn't take much for an author to imply what a character's inner landscape looks like. Gandalf doesn't say much to Bilbo, but when he does, he reveals centuries of wisdom and fathoms of power behind that kindly, old-school façade. ElinorDashwood spends the majority of "Sense and Sensibility" worrying and writing letters, but when Edward finally gets down on one knee, Austen captures mountains of anguish in one, uninhibited cry. When something happens to the characters you've grown attached to, whether it's Severus Snape, despite Harry's judgment, or Scarlett O'Hara, even though she's a self-centered princess, you feel an overwhelming sensation of justice, especially if you think your character has been wronged. Who didn't fling "Harry Potter and the Deathly Hallows" across the room when (spoiler alert) Snape died? Who didn't raise their hand in solidarity when Scarlett swore that she "would never go hungry again?" You've never met these people. You've never encountered a situation like theirs. And yet your values are being put to the test with each new reading. By inciting your compassion or righteous rage, literature does something to you. It puts you through a highly specified and refining experience, one that can be recreated, reinterpreted and shared for years and years to come. This was the essence of the Greek tragedy. To watch "Oedipus Rex" or "Antigone" is to experience cruel fate and injustice firsthand. The Greeks saw value in these cathartic visits to the theater because it plumbs each spectator's moral virtues and normalizes the crowd's response. If adequately skilled, the playwright cannot only identify and induce a common emotion, but can also teach what the spectator's proper reaction should be. Obviously, Nussbaum's understanding of literature is nothing new. Works like "Animal Farm" and anything from the Irish nationalist theater will attest to that. But for everyday people who aren't facing major political conflicts, Nussbaum calls attention to what we read and how it normalizes our actions. This doesn't mean we should only read what we agree with. That would only lead to complacent, uninformed value systems that would crumble at any outward challenge. If written correctly, a book can help you recognize, understand, and respect other people. Unless, of course, you're a solipsist. Contact Meghan Thomassen at mthomass@nd.edu. The views expressed in this column are those of the author and not necessarily those of The Observer.  

¡Dos!'- Green Day's garage band greatness

Few active bands can say they've been relevant for more than a decade. Five years, maybe 10 in mainstream popularity and a band can rest peacefully in the knowledge that it's had a good run. But then there's Green Day. Hailing from a time when the 'M' in MTV actually meant music, Green Day has been dishing out its lovably vulgar brand of punk rock to audiences since its formation in 1987, achieving breakthrough success with its major label debut album "Dookie" in 1994. Since then, six albums and almost two decades have led to the band's most recent entry, "¡Dos!," part of an ambitious trilogy of albums currently being released over the course of a few months. "¡Dos!" has been described by front man Billie Joe Armstrong as the band's attempt at the garage rock subgenre, focusing on an unfiltered and visceral sound throughout the album, a welcome detour from previous stadium rock anthems seen in "American Idiot" and "21st Century Breakdown." This raw feel is perfectly showcased in the minute-long introduction "See You Tonight," a quick, melancholy piece that consists only of Armstrong's vocals and a clean, undistorted electric guitar, refreshing in its unproduced sound and simplicity. A live version of this track would sound nearly identical to the album recording, a quality missing from many acts nowadays. The band returns to its usual crude, inappropriate self for "Stop When the Red Lights Flash" and "Lazy Bones," a pair of loud, fast entries dealing with disillusionment and tiredness, candid in showing Armstrong's snotty attitude that one can't help but love. Brash and abrupt, songs like "Makeout Party" and "F*** Time" leave even less work for the imagination. The album's only single, "Stray Heart," presents a more vulnerable, heartbroken image of Armstrong. Built upon an upbeat, springy bass line, it's obvious through the track's cleaner language and contagious chorus that this is a venture into pop territory. Although it's understandable that the band needed a more radio-friendly track to promote the album, it would have been nice to see Green Day stick to the garage sound purported to be the focus of "¡Dos!" Either way, the song will stick in listeners' minds. "Nightlife" is the most interesting experiment on the set list, a slower track with an offbeat guitar, heavy bass line, and guest vocals from Lady Cobra, lead singer of the relatively unknown band Mystic Knights of the Cobra. Lady Cobra's provocative rapping and Armstrong's distorted vocals give a more ska punk sound, reminiscent of fellow 90s band Sublime. Just as racy as other tracks, this is a successful risk into previously unexplored influences for Green Day, a sound that they can hopefully expand in later albums. Armstrong's best and most heartfelt track has to be "Amy," a tribute to the late artist Amy Winehouse. Like "See You Tonight," the song consists of just Armstrong's vocals and a guitar. Painfully sweet in his call for Amy to be his friend, Armstrong beautifully paints his anguish over the loss of the artist. Listening to his honest lyrics, one can practically see Armstrong onstage, alone with his guitar, strumming in a lone spotlight. This song would not be out of place on the Ed Sullivan Show for its true soulfulness and purity. Green Day has provided another fine entry into its decade's old repertoire, boldly embracing new styles while still maintaining its tried and true image with loyal fans. It's great to see that the band has retained its creativity across the years, and will surely do so with the upcoming and final installment of its trio of albums. Contact Jesus Mendoza at jmendoz6@nd.edu  

ND Dance Company Performance Tonight

The Notre Dame Dance Company performs their first production this Thursday and Friday night at 7 p.m. in Washington Hall, a performance in the works since the beginning of the school year. "This dance production is a showcase of the talents of all the hard working dancers in Dance Company," ND Dance Company President Anne McDonough said. "The show [allows] student choreographers to express themselves through choreography and also for dancers to interpret that choreography and expose their emotions to the audience through dance." The show will consist of dancers' performances of a wide variety, ranging from jazz, lyrical, ballet, tap, pointe, and contemporary. "You should expect to see pieces with different stories behind them that all celebrate the beauty and intricacy of movement," McDonough said. The performance will be largely made up of dances choreographed by the students themselves, where it is very apparent that each member of the Dance Company looks forward to each others' creativity and artistic visions. From the top down, the support and enthusiasm among the Dance Company is very apparent, and McDonough expressed her excitement to see all of her dancer peers' talent showcased on stage. This sentiment is thoroughly reciprocated among all of the members, as freshman dancer Sarah Rohrman expressed her own excitement towards her fellow dancers' work. "I really like the emotion behind KaleenDeFilippis' piece, 'Come Home Soon,'" Rohrman shared. "It's just fun to perform! I've gotten to see 'Some Nights,' a piece by Maggie Miller a lot in rehearsal, so it's probably one of my favorites, along with 'Breathe Me' [by Mari Grief] and 'Awake My Soul' [by Julia McGinty]." The long process leading up to the production was a significant one. McDonough described how choreography was invited from the members at the beginning of the year, and since then met once a week, spending 40 minutes on a dance routine. "Typically choreographers will start the rehearsal with some sort of warm up and review of the previous week's choreography and then continue teaching the number and setting spaces for the dancers," McDonough said. "Usually Dance Company pieces are not finished until the week before or even the week of the show, simply because there is not enough time in a semester." The level of dedication is very impressive, and major time commitments did not escape McDonough's description of the process. "As college students, it is difficult to maintain the level of training and discipline in dance that many of us practiced in high school," McDonough said. However, it is precisely this strain on the members' time that truly speaks on each dancer's passion, throwing themselves in their art. "A huge reason Dance Company is inspired to put on shows is to be able to help students continue their training, passion and love for dance despite the fact that their lives are more hectic the older they get," McDonough said. "It sounds cheesy but I feel like this club has become my baby...It makes me happy to share my passion with others on the company." The close-knit relationship in the Company is apparent. "Everyone is here [in the ND Dance Company] simply because they love to dance and want to share it with people," Rohrman said. "We've put so much work into this performance every week since August, and I think everyone's just ready to be able to showcase that." The Notre Dame Dance Company's show will be Thursday and Friday night at 7 p.m. at Washington Hall. Admission is $5. Contact Miko Malabute at mmalabut@nd.edu

Life of Pi': Seeing is believing

While reading a book full of shipwrecks, tigers, carnivorous islands and cannibalism, I had trouble imagining such topics, much less picturing them on a movie set. However, Ang Lee managed to direct the impossible plotline of this exaggerated, amazing story in his film version of Yann Martel's novel "Life of Pi." Despite the struggles Lee undoubtedly faced when filming this movie, he stuck to the plot almost perfectly, which keeps the faithful readers like myself quite pleased. Sure, Lee took the liberty to add a love interest for the main character Pi, but, hey, I don't think anyone will complain about the adorable, short-lived teen romance.

Now That's What I Call Music' Recap

Tuesday's recap of "Now That's What I Call Music!" brought us up to the turn of the millennium. That time covers 47 editions between the United States and the United Kingdom, beginning in 1983 in the U.K. and 1998 in the U.S.

Campus Cafes with Claire

Reminiscing on "Now That's What I Call Music!"

Lincoln': good acting, boring plot

An Unexpected Ending to 'The Twilight Saga'

Style with Sean

10 Reasons 'Red Dawn' Shouldn't Have Been Re-Made

The 10 Best Foods to Have for Thanksgiving