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Shamrock Shake Season Has Arrived

It's the most wonderful time of the year! No, not Lent. Shamrock Shake season, of course! Those wonderful green milkshakes are back at McDonald's in celebration of St. Patrick's Day. As a member of the Notre Dame Irish community, it's your responsibility to enjoy and support the Shamrock Shake at this magical time of the year. The Shamrock Shake was first introduced to the public in 1970, and was available in nearly all McDonald's until the early 1990s. Though widely considered the predecessor to all seasonal beverages, the Shamrock Shake has, since its reign in the ‘70s, ‘80s and early ‘90s, become something of a domestic rarity. However, it seems that McDonald's has recently come back to its senses. In the last few years, there has been a rise in the availability of Shamrock Shakes come late February through St. Patrick's Day. A Shamrock Shake is a hard thing to describe. While technically considered mint milkshakes, to the trained connoisseur, they are so much more. As a person who doesn't typically enjoy mint-flavored ice cream, it would be a disservice for me to label these delicacies as mere mint milkshakes. The light flavor is something of a delight to the taste buds regardless of proclivity to mint. There is some secret ingredient buried within that green milkshake-y goodness that adds a complex flavor to something that seems so simple. And they're green! McDonald's has changed things up on us a little this year. It seems that the mega-restaurant chain has decided to class up their products by serving all milkshakes in a clear plastic cup, much like those used for frozen coffee beverages, with whipped cream and a cherry on top. While many will be horrified to see that their favorite wax-paper cups are no longer available, the beautiful light green color of the Shamrock Shake can now be shown off to all. This year, I had my first Shamrock Shake of the season Friday, Feb. 19. The McDonald's on Ironwood did right by me and had my favorite seasonal beverage waiting for me at my first free moment on Friday afternoon. What a way to start out a weekend. It has come to my attention that many at Notre Dame are unfamiliar with the ways of the Shamrock Shake. To this, I say for shame! Many will find it difficult to share the love for it that I have, but you owe it to yourself, and really to humanity as a whole, to at least try it. You might not like it, in which case I feel sorry for you, but at least you can say that you have tried the mighty Shamrock Shake. You will instantly garner the respect and admiration of those around you. And for those of you who have experienced the magic, I say that there isn't a moment to lose! Head over to the nearest McDonald's and start March off right! For further inspiration on the quest for the Shamrock Shake, just search "Shamrock Shake commercial" on YouTube, and prepare for your mouth to water and your eyes to pop at the kitschy ‘80s era commercials. The only thing left to say, really, is bon appétit!

Like No Others, The Avett Brothers

I forgot my plaid shirt. And my can of beer. But I had my sway on and a friend by my side and that was all that was needed to enjoy the folksy musical trolling of the Avett Brothers Sunday night. As the Murat Egyptian Room lights dimmed in Indianapolis and the opening act, The Low Anthem, took the stage filling the atmosphere with hippie folk rock, a sense of serenity fell over the crowd preparing us for the magical night that was ahead. The opening band, a group of four from Rhode Island, brought their own flair to the stage and invited us into their trance of musical harmony, opening our ears to new sounds with innovative instruments. Their ending song changed pace and quickly shook us from our reverie, waking us up just in time for the two brothers, Scott and Seth Avett, their bassist Bob Crawford and their cellist Joe Kwon to take the stage. Never have I seen a cellist like Joe Kwon. He was the most fascinating character to watch by far (even more so than the drunken college bros in front of me) and worked his bow with such precision that he seemed as practiced as a doctor using his scalpel in surgery. His look was a total contradiction — a classy suit with shaggy hair and a Genghis Kahn-like mustache/beard combo. He rocked that cello though, forcefully and passionately, adding vigor to the mutt musical styling of the Avett Brothers. The Avett Brothers, though their instruments include a banjo, cello, standing bass and acoustic guitar, don't quite fit the bluegrass genre, nor are they fully folk, punk or rock and roll. They're a mix of genres, a unique entity unto their own. This, combined with their simple yet surprisingly profound lyrics, makes them a fascinating band to listen to. Just when you think you can push them into one category and set aside their CDs for chill time, you hear a song like "Distraction #74" that makes you want to link arms with a person nearby and spin around (which we did with those drunken bros in front of us). The set list weaved between fast and slow numbers, highlighting each member of the band at one point or another. Scott and Seth took turns singing the lead vocals, allowing for one favorite moment in particular when Scott (or "Hottie Scottie" as my friend likes to call him) performed the cryptic song "St. Josephs," one I hadn't heard before. The melancholy soft strumming of Scott and his brother's guitar strings matched with the mysterious lyrics about a hospital stay were entrancing and bittersweet. "Murder in the City" was also poignant and sweet, recalling memories of sibling rivalry, parental pride and a last will made of love for a family. The closing two lines, "Always remember, there's nothing worth sharing/ Like the love that let us share our name," are as charming as a song can get, and struck a chord with the women lusting after the simple loving world of the Avett Brothers. There's a reason these men were picked to open for Dave Matthews Band during a portion of their spring 2009 tour. They've got talent, sincerity and simple passion that reverberate with every pluck of their instrument strings. The only thing that left me blue was the fact that they didn't play my personal favorite Avett song, "I Would Be Sad." Regardless, I left the concert feeling refreshingly light and worry-free … until I got back to campus and remembered it's Midterms Week. Oh well, it was nice while it lasted. Thanks for the break from reality Avett Brothers — to put me in such a serene mood, there really are no others.

Glenn Beck's path to power

President Obama's meteoric rise to Commander in Chief of the United States was a unique moment in American politics. His calm demeanor, level-headed oration, willingness to compromise and intellectual heft were combined in a campaign promising change. In the 15 months since his election, change has proven elusive, bipartisanship scarce and progressivism negligible.

Music Rewind: Empire of the Sun's 'Walking on a Dream'

It seems rather odd to call this a music "rewind;" Empire of the Sun's album "Walking on a Dream" was only released in 2009. While the album was by no means overlooked or forgotten, it was an album that should have garnered much more attention than it actually did, given its quality and the timing of the album's release in the wake of MGMT's massive success with a similar synth-pop sound. It is an album that at first will seem foreign to most but with just one listen will have anyone smiling and taking to the dance floor.

Floating Into 'The Sea' With Corinne Bailey Rae

British soul sweetheart Corinne Bailey Rae blew us all away with her 2006 summery single, "Put Your Records On," off her self-titled debut album, a jazzy take on the pop R&B genre. Now, after a long hiatus, her sophomore album, "The Sea," has a more mature sound, with less pop and more soul.

Farley's Finest Host Winter Carnival for Literacy

Hills are hard to come by in South Bend, and there certainly aren't any local sliding centers like the one in Whistler, British Columbia. So how is Farley Hall hosting a bobsled race for its signature event this year?

A Call For More Catty Villains

Love them or hate them, catty villains — to put the term nicely — are almost always the best characters on television.

The Buried Life Uncovered

The guys from "The Buried Life" seem to be living the life. They have a hit show on MTV that enables them to do everything they've wanted in life and they get paid for it. It definitely seems like a good gig, but is it genuine? Are these guys really this carefree and cool? I had the opportunity to talk with Dave and Johnnie and it turns out they're even cooler than they appear. The project started four years ago in Victoria, British Columbia, from where the guys hail. Dave and Johnnie said they were sick of seeing their friends wasting their lives, and sick of doing what they were "supposed" to do. So they decided to use death as a motivating tool in their lives. It was supposed to compel them to do what they wanted most in life.   When the pair asked their parents what they thought about this project, they responded with knowing laughs. They said they did get the expected questions, like "How are you going to do this?" However, all of their parents were generally supportive. Not one told them not to follow through with what they had started. While they were supportive, this support did not include monetary help. They raised the money for their project in their own community, but there were many times when money was an issue for them. It got hard to keep going when they were so poor, but that's where the group came in. If two people were feeling really down about what they were doing and just wanted to quit and get a real job, then the other two were right there motivating them and reminding them why they started doing this in the first place. They were offered a show in 2007, but elected not to take the pitch, as they were concerned about keeping   creative control. Today, they are very content with their involvement with MTV because the network simply acts as a vehicle for what they are doing. The four act as executive producers on the show and they are in full control of the editing. They wanted it to be made very clear that they were presenting something real. They wanted to show that normal people can do anything, because they are just that, normal guys in their mid-twenties. (Or at least they were.) They would not call themselves celebrities, but they are certainly aware of their increased profile. It seemed to make them uncomfortable when asked if they were celebrities. Both Dave and Johnnie were reluctant to answer. So how will this higher profile affect their project? If they do sign on for a second season it will be a little more difficult to find things they cannot do, which is almost the best part of the show. They still appear to be living the life, even if they do not cross off all the items on their list. Perhaps the reason that Dave and Johnnie seemed so cool is that they were aware of the impact their project had on people, yet chose not to take any credit. They said that they were "just humbled to be a part of it." What they really wanted to do when they started this project was to get other people to ask themselves to ask what they were going to do before they die. Once you acknowledge what you want to do, the next question is, why aren't you doing anything to get there? This is the cool part about the guys on this show — they want it to inspire people, and not in a preachy way. In addition to the questions I posed to Johnnie and Dave, they had one question for the people watching the show:  Everyone has something that they want to do as an individual, but what does our generation want to do as a group? Only time will tell.

Weekend Events Calendar

Ain't No Grave: A Fitting End for the Man in Black

‘Bob Dylan once said Johnny Cash "was and is the North Star; you could guide your ship by him. The greatest of the greats — then and now." His career is impossible to put into perspective. He stands among the musical elite, and with the exception of Elvis and The Beatles, there are none above him in terms of popular and critical success. He's one of the many great American stories: grew up poor, served in the army, hit rock bottom (on more than one occasion), found family and religion, and faded from the spotlight as he aged. Cash's career and legacy reached a pinnacle in 1994 when he changed course. After being dropped by Columbia, Cash was washed up until label co-head Rick Rubin signed him to American Recordings, a rap and heavy metal label. The contract blossomed into six remarkable albums and a new audience for Cash. "American VI: Ain't No Grave," Cash's latest and perhaps final entry in his extensive discography was released on Jan. 23, three days short of what would have been his 78th birthday, with the blessings of his friends and family. It's been seven years and another album since Cash left this world. It comes as no surprise that much of his output in his last days would focus on his impending death. "Ain't No Grave" is a natural culmination of both his American Recordings and his impressive career. Gone is the anger, regret and sorrow that pervaded much of his work from the 90s (most notably on his cover of Trent Reznor's "Hurt"). Instead, a portrait of man's proper relationship with death is painted; not eager, but certainly not afraid. Cash only authored a single track on the album, "I Corinthians 15:55." Taking his inspiration from the Pauline verse, "O Death, where is your victory? O Death, where is your victory?" Cash tells of salvation with all the conviction of a preacher and twice the effectiveness. The album art, a concept almost lost in the digital age, highlights his song writing, piecing together several handwritten drafts in lieu of proper liner notes. The back cover presents Cash through a windowpane in the months before his death. Careful consideration was clearly taken in the look of the album and, while it continues in motifs familiar to Rubin's style, Cash's young countenance shines out from the cover, an unusual but poignant choice for such a somber album. The material that Cash covers, perhaps the strongest point of American Recordings — other than Cash himself — is the most consistent of the series. Thankfully, gone are the cheesy choices such as "A Legend in my Time" from "A Hundred Highways" or "Danny Boy" off "The Man Comes Around." Sheryl Crow's "Redemption Day" meshes beautifully with Cash's weathered vocals and stripped instruments. The final track on Cash's final album is a surprising choice, the iconic Hawaiian "Aloha Oe." It masterfully avoids the pitfalls that could have easily turned it into a novelty song and ends the musical career of a legend with the grace, beauty, elegance and joy evident in the words of the piece. No artist will ever age as gracefully as Cash did. He never burnt or faded out, became a caricature, stayed past his welcome or impeded his own legacy. In the final years of his life, he recorded hundreds of songs. From these, Rick Rubin was able to put together a proper final album for the "Man in Black." While it would be impossible to say "Ain't No Grave" is Cash's best album, it now ranks among the essentials in a string of masterpieces.

The Revelin' Family Band Finds Local Success

Breaking into the music scene can be a daunting task. With lots of competition and the unpredictability of music tastes, it can be nearly impossible to make a name in the world of music. While this is particularly true on a large scale, musicians are often faced with similar challenges even on the relatively small scale, like at a place like Notre Dame. Yet, there are always those bands that manage to stand out. The Revelin' Family Band, a band consisting of several Notre Dame seniors and a graduate student, has managed to do just that. Starting out small, but gradually gaining momentum throughout the school year, The Revelin' Family Band continues to develop a substantial fan base and play shows all around South Bend. The Revelin' Family Band was formed by Senior Mitch Bradford during his sophomore year. Since then it has existed in several different variations, but for the last year there has been a consistent lineup. It currently consists of Bradford on lead vocals and guitar, senior Brad Monroe on vocals and guitar, senior Tim Gallo on guitar, graduate student Joey Herzog on bass, senior Joe McLean on keyboard and senior Dave Lucas on drums. Bradford, Lucas, Gallo and Monroe met while studying abroad in London, and in the words of Monroe, "our similar tastes demanded that we play together when we returned to Notre Dame." Through their jam sessions and common musical interests, the band has developed a sound Monroe describes as "the best of rock, country, and soul with pop sensibility." Playing a variety of music from Carole King to Men Without Hats, the group is constantly adding new songs to its repertoire. Even within one show, the band can be heard playing a variety of songs, making it surprisingly difficult to pin down their genre. "Purple Rain" by Prince has become a specific favorite among the band and fans. "I think we feel a common catharsis [when playing "Purple Rain"] with our audience that results in a frenzy of emotional expression," Monroe said. The Band has played at a variety of venues in South Bend, most recently performing at Club 23, Reckers and Legends. They have several gigs lined up for the near future, including Mulligan's, Club Fever and another appearance at Club 23. For now, the band intends to continue playing together as long as possible. With all of the members graduating in the spring, it is inevitable that the band will have difficulties staying together. Still, with many of the members somewhat unclear about future plans, a tour of some sort is in discussion. If nothing else, all members of the band intend to continue playing music. "Even if the band doesn't survive, the music will live on," Monroe said. More immediately, fans and intrigued readers can catch Brad Monroe and Dave Lucas performing at Acousticafe  Thursday night at 10 p.m. in LaFortune. The duo, working under a side project "The Monroe Doctrine," have become a staple on the Acousticafe circuit and have been known to play a variety of hits, including "Sexy Chick" by David Guetta. Keep an ear open for news of The Revelin' Family Band and check them out the next time they are performing around campus. It's a great opportunity to support local talent and take in an awesome performance at the same time.  

Surviving February with the Olympics

February has never flown by so fast. Usually, these 28 (sometimes 29) days creep by, stealing away all enjoyment once held in January at returning to campus and friends. Work finally begins to pile up, snow continues to fall, and the days just keep dragging. One enjoyable aspect of high school was always February vacation, a weeklong break over President's Day instead of just a long weekend. It's a New England phenomenon that really breaks up the monotony of February. But here at Notre Dame, we don't even have three-day weekends, so the idea of a February Break is a laughable one. This year, though, there is something almost as good as February vacation to get everyone through the winter doldrums: the 2010 Olympics in Vancouver, British Columbia. The 21st Olympic Winter Games have provided endless entertainment and distraction for the past week and a half. At almost every given moment, one Olympic event or another is playing, either live or on replay, on NBC, MSNBC, USA or another NBC syndicate. From ski jumping to pairs skating, half pipe to two-man bobsledding, the opportunities for viewing and cheering on the Americans are limitless. But why do we watch all these events? Why do we allow ourselves to spend so much time watching sports we have never before cared about in our lives? If you've recently found yourself transfixed for hours by men's and women's curling, you understand. The draw these random sports hold over us is inexplicable. Never before in my life have I cared about curling, and yet I can now explain many of the rules and even some of the stats from the round robin men's match between the United States and Switzerland. I recently had a conversation with friends on this same subject. We all find ourselves entranced by sports like curling or speed skating, and we do not know why. It's easy to understand our fascination with Shaun White and his gravity defying aerials, or the men's Olympic hockey team and their stunning defeat of Canada, but not some other sports. I think that a lot of it stems from the desire to be involved. The Olympics have been a major sporting event, uniting city-states and nations, since the times of the ancient Greeks. We all, on some level, want to feel included in this international event that puts our favorite television shows on hiatus for two weeks. We all want to feel some of the power and magic surrounding the Olympics, the aura and history. Watching every sport, no matter how boring ice dancing is compared to the men's short program, helps us forge this deep connection to the Games. Another thing people love about watching the Olympics is whipping out their ancient and possibly questionable family genealogy and basing their support for teams off of the family tree. You can't just root for Team USA during the Olympics — though they should be your No. 1 — because sometimes the Americans do not make the competition or are not competing in the heat currently playing at 11 p.m. on MSNBC. Instead, Denmark is competing against France in women's curling. Obviously, you choose to support Denmark because you are pretty sure that your family is 1/16th Danish (or was it 1/20th?). Or maybe German skaters are neck and neck with the Swedes, and you, possibly 1/16th Danish, have never forgiven the Germans for taking the state of Schleswig-Holstein from your already tiny country. Obviously, then, you chose to throw all your support behind the team from Sweden. No matter your reason for watching or for supporting a certain team, the 2010 Winter Olympics will be there on at least two channels whenever you flip on the TV, at least until Sunday. So thank you Shaun White, Apolo Ohno, Bode Miller, and all other Olympic athletes for helping us through February. It would have been a rough month without you.  

Why Megan Fox Bothers Me

A personality a little too shallow to make for an amiable interview, Megan Fox fails to impress in her latest interview with W Magazine. With looks that are unquestionably beautiful – dark long waves, steel blue eyes highlighted by arched eye brows and delicate, rosy lips — Fox is a pleasant break from the Barbie blonde America loves to love. Her daring and sultry attitude, tattooed arms and perfect body (all of which lead to apt Angelina Jolie comparisons) make you wish for an equally mesmerizing personality. Unfortunately, personality does not seem to be a forte for Fox. After controversial comments about how "Transformers" wasn't all that great of movie (surprise, surprise) Fox went on to star in the massive fiasco that was "Jennifer's Body." Luckily for her, however, that won't be much of a problem since she recently signed a seven-figure contract with Armani underwear in what Fox claims will be a challenge because, not only is she "a Vargas girl" (and, when wearing lingerie, immediately "provokes a pinup image"), but she has no confidence. But that's not the problem. It's cool when celebrities as huge and beautiful as Fox show their insecurities (they're humans too). The problem is in her contradictions and nonchalant-ness to everything. Where's the charisma we used to find in celebrities? For that matter, where's the talent? Fox herself said acting isn't her talent. Instead, she's "marginally talented at a lot of things." What? What is that supposed to mean? Let's go to the beginning. Fox begins her interview complaining about photo shoots and how she hates them. Indeed, if you look at her pictures you can tell she isn't having much fun (and likes maintaining that same facial expression … in every picture). Fox isn't a fan of fashion either, and sticks to basic t-shirts and jeans, which is actually kind of cool. Again, normal. A little later, however, she talks about how she actively pursued acting in her youth and actually managed to get her mom to take her from Florida to L.A. to audition for a show (in which she ultimately got a role). A pretty determined and driven action for someone who would later say acting isn't really her thing. Maybe saying that is better than saying she's a natural even though her past roles haven't been impressive (at all). Anyone remember Fox in "Confessions of a Teenage Drama Queen" with Lindsay Lohan or in "Holiday in the Sun" with the Olsen twins? Both characters are equally whiny. Maybe this says something about what Fox can do well. She continues by saying how being a celebrity is such a burden. Boo Hoo. I mean, I don't doubt this, I bet it really is a pain to have people follow you around, destroy your privacy and to become scrutinized by the public eye. What I do doubt is the legitimacy of her "I didn't create this" claim. In 2008 Fox said, in an interview for a male magazine, that she once had a stripper girlfriend who "smelled like angels." Turned out this was a lie. When confronted about that, she replied "Whatever." And then she talks about how very maternal she is and how she's worried she'll get caught up in everything that's going on in her life and forget to have children "even though I would be able to provide them with an amazing environment." Finally, she concludes about how she can't trust girls in the industry. Everyone seems to resent her. Maybe if she kept a different attitude, things would be a little different. All it seems from this is that she leads a somewhat lonely life, where she doesn't like being a celebrity and doesn't trust her talent. I think Megan Fox needs a change of attitude. And we need to be more selective in the people we admire and pay many fortunes to. Whatever happened to all the Grace Kellys and Audrey Hepburns of the world?

Motion City Soundtrack doesn't disappoint with 'The Dinosaur Life'

I must admit that I have been a longtime Motion City Soundtrack fan. Ever since I heard Justin Pierre crooning about his heartache and quirky obsessions, I was hooked. I have a feeling it's his extreme honesty that makes him most endearing. From his obsessive compulsive behavior to his touching, though seemingly perpetual, heartache, Motion City Soundtrack can't be described as anything less than my guilty pleasure. I would rarely admit to enjoying a band so strikingly punk rock. Yet sometimes everyone needs a little bit of angst and heartache. It keeps us all human.

ND student catches a Vampire Weekend concert in Berlin

Germany embraced a different VW this weekend — an American export that proved just as polished, just as quick and perhaps more dependable than anything circuiting the autobahn of late.

Music Rewind: The Academy Is ... was 'Almost' perfect on debut album

The Academy Is … is a hard band to define. Once dubbed emo, thanks to some concerts played with fellow Illinois rock band Fall Out Boy, sometimes called pop punk, and now considered a part of the broad "alternative rock" movement (and what does that really mean?), these spunky rockers have mostly been on the back burner lately, recently playing a special concert in Chicago featuring only songs from their first album "Almost Here."

Shutter Island' twists, turns but falls short

"Shutter Island" plays as though it's so many things that it's not: a horror film, a 1950s detective tale, mainstream entertainment for everyday filmgoers, a complicated psychological thriller that some might call a "mindbender"… the list goes on and on. Martin Scorsese's latest film is in fact a genre-bending, smartly-crafted thriller veiled as an exercise in complicated "make you think" filmmaking that is actually pretty straightforward and easy to guess at, yet enjoyable nonetheless. That is to say, it succeeds as a journey and in its destination.

Collaborations & Cover Songs

Since U Been Gone/ Maps — Ted Leo and the Pharmacists    Originally by Kelly Clarkson and The Yeah Yeah Yeahs

Florence + The Machine Provides Heart Stopping Soul-Indie Fusion

Britain is on the rise, and Florence Welch is riding the wave over. With a sound organically grown from Etta James and Imogen Heap, Florence + The Machine's debut "Lungs" hits like a ton of bricks somewhere in the impossible fusion of soul and indie pop. Welch, a 23-year-old from London, has been blowing up U.K. charts for the past year (fueled by the BBC) and has finally crossed the pond. Her band's first release is not similar enough to any one artist to be placed in a genre. Instead, "Lungs" manages to bring out the soul-power of fellow Brit Adele to the layered orchestration of Frou Frou (with less electro-pops and more harp). Plus, the lyrics are not too cryptic to require a microscope and thesaurus to decipher, whilst remaining odd enough to deserve multiple plays. The album opens with "Dog Days Are Over," a bait-and-switch that begins like an Ingrid Michelson song and ends up in a Gospel anthem, complete with clap track. Then comes "Rabbit Heart (Raise It Up)," the album stand out. The moving soul melody is littered with punches of choir backing, as it dances precariously between an intimate revelation and a blow out proclamation. By the time the chorus hits, it's become hypnotic and begs to see the fairy tale finished. "Midas is king and he holds me so tight/And turns me to gold in the sunlight," belts Welch, and one wonders who Midas is until, of course, the bridge comes around, the orchestra drops out and suddenly you couldn't care less about Midas because the choir is chanting "Raise it up!" with such devotion that you want to chuck your shoes and go dance in the snow. By the time the last chorus — coated with harp glissandos — cycles through, you're hooked, and there's no going back. "Kiss With a Fist" is the most unique on the album. This pure punk-rock tribute to PJ Harvey contains tongue-in-cheek lyrics set to bare drums and electric guitar. "You smashed a plate over my head/Then I set fire to our bed," drawls Welch, with the fierceness of Lily Allen. This not-breakup song ("A kiss with a fist is better than none") is so delightfully awful that it even landed on the soundtrack of the Megan Fox movie, "Jennifer's Body." Beware, though, because it contains all the elements of a song you won't be able to get out of your head. Florence + The Machine provides a wealth of samples for one new to their indie Gospel anthem. "Drumming Song" is a heart-racing track that once again manages to reconcile funk and edgy rock that is "Louder than sirens/Louder than bells/Sweeter than heaven/And hotter than hell." The lyrical simplicity that Welch uses provides enough punch to get the point across but is so straightforward that one feels comfortable belting them right along with her. The album takes a breather for the oddity "My Boy Builds Coffins." Here the lyrics really do take front and center, as Welch calmly explains the profession of her beau. "He's made one for himself, one for me too/And one of these days he's gonna make one for you." The placid tone still manages to end in a choir anthem. "Hurricane Drunk" sounds the most like what one would expect to hear on the streets of London. This post break up soul number has a chorus worthy of Kelly Clarkson, but unlike Clarkson doesn't induce fervent jumping — just swaying hips. "Lungs" ends with a cover of "You've Got the Love" that Florence + The Machine takes to appropriate heights. The track, originally done by Gospel singer Candi Stanton, becomes a theatrical ovation (and might induce some jumping). Overall, "theatrical" is a very good term for "Lungs." Welch barrels through everything she takes on, layering synth and orchestra at will, with an artistic recklessness that threatens to blow over any bystanders not keen enough to brace themselves.

The Mark of McQueen

The fashion world mourned on Friday as the death of Lee Alexander McQueen cast a pall on the commencement of New York Fashion Week. At age 40, the designer committed suicide after having been troubled by the loss of his mother. McQueen's legacy lives on in the brilliant and groundbreaking work that he had given the fashion world. He began working in London's famed Savile Row as an intern and then transitioned into costume design. He then pursued his master's degree in design and began his individual collection.       McQueen was a designer well known for his dramatic shows and garments. It's no wonder then that the he is a favorite of Lady Gaga. For majority of the public, the only thing even recognizable as a work of McQueen's is his designs featured in Lady Gaga's "Bad Romance" video. The video opens on Gaga and a posse of some number of Russian brides and mafia members. She is seated in the center in a glimmering gold dress from McQueen's Spring 2010 collection. Some may also recall the moment when Gaga is slowly walking across a stark white room in an elaborately sequined garment and shoes that are impossibly high. This entire ensemble is straight off the Spring 2010 runway as well. Shoes seem to be the one area in which designers completely throw away any sense of wearability, and yet McQueen's designs were an integral part of the music video itself.     McQueen ventured into the commercial realm in 2005 with his line for Puma.  The collections for Puma are a much more toned down version of McQueen than what is usually seen on the runway. Let's face it: a gym shoe with a nine-inch heel simply wouldn't sell. The collection features athletic shoes for men and some for women as well.  The women's shoes are not particularly appealing and would generally not be distinguished from the men's at first glance, but the real draw to the collection is the select items of clothing. Most of the clothing is meant for working out, but the men's bomber jacket offers a fantastic alternative to the worn out hoodie most men find appealing.       Puma and Lady Gaga may be fans of McQueen, but his real mark on fashion was made in his groundbreaking collections. His most recent collection, Spring 2010, took the global trend to an entirely new level. He created beautifully crafted garments with some of the most intricately designed fabric patterns. The fabrics looked as though they were the skin of some creature that has not been discovered yet. The patterns had elements of snakeskin and yet some had shoulder pads that more closely resembled armor. Each model was transformed into something not quite human by the hair and makeup choices.  Their hair was piled atop their heads in alien-like spikes with braids along the side of the head and their makeup emphasized the cheekbones and diminished the eyebrows yet again creating the illusion of an alien creature. The shoes were incredibly powerful. They added a good foot to the already Amazonian models and simply added to the otherworldly effects of the show. The show was a look forward to the future in an unbelievably creative manner.     The lingering question following his death is what will come of his Fall 2010 collection. The men's collection was shown in Milan in late January, but the women's collection was not. It was reportedly close to being finished upon his death, but whether it will debut in New York remains to be seen.     His work simply cannot be summed up in one article. His creations were groundbreaking and extremely powerful. He was a versatile designer with acclaimed collections in both men's and women's wear and his design aesthetic was both outrageous and beautiful. He emphasized the juxtaposition of power and beauty in his clothing, and left a huge mark on the fashion industry. He will surely be missed and will be remembered for years because of his amazing work.