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Scene Says

By The Observer · Thursday, Nov. 19, 2009

Ladies and Gentlemen, Boys and Girls, Children of all ages get pumped! You may not know it yet but your entire lives have been nothing but a precursor to this one moment. The most awesome of awesome things in your lives pale in awesomeness when compared to the next sentence you will read. The Scene section will now be offering advice to any and all who desire a wise word, intelligent interjection, adept advice or sage syllogisms on any aspect of Notre Dame life. You can't let that guy friend know that you like him? Got it covered. Tired of getting friend-zoned by girls left and right? We feel you and we got the remedy, it is the experience, the dangerous liaison. Even if all you want to know is the best place to get a delicious sandwich, we handle the toughest questions. (P.S. — the answer is a Dagwood sandwich from Martin's side door deli). Simply e-mail your questions to jshaffe1@nd.edu and we will take care of the rest. For your viewing pleasure here's how a sample question might go :

The Observer

A Swift Takeover of the CMAs

By The Observer · Thursday, Nov. 19, 2009

While most on campus have yet to realize Scene's abysmal coverage — or lack thereof — of the Country Music Awards, I'm taking it upon myself to attempt to rectify the situation (over a week late, apparently Scene took awhile to pencil me in). I love country music. Apparently, it's a surprising quality I possess, but country music is the one aspect of my otherwise well-concealed Southern roots that I'll publicly announce. Those people who claim they like any music but country music are either a) lying, b) wrong or c) stupid. At least now Taylor Swift has arrived to show everyone the error of their ways. Last Wednesday, Swift made country music history, winning all four awards for which she was nominated, including a major victory in usurping Kenny Chesney from the Entertainer of the Year throne that he has held for five of the past six years. Any casual country music fan fails to realize the magnitude of this upset. The Country Music Association, which votes on the CMAs, is a notoriously conservative body, and tend to be unnecessarily harsh on crossover artist that aren't "country enough." After the nominations were announced, George Jones lambasted Swift and other recent artists, saying "They're definitely not traditional country music," and accusing them of "stealing [classic country singers'] identities." Immediately after receiving Entertainer of the Year, Wynonna Judd, the younger and overly-orange half of country duo The Judds, said Swift shouldn't have won, due in part to her young age. The last solo female artist to win Entertainer of the Year was Shania Twain. In 1999. Before that, it was Reba, in 1986. Faith Hill, Swift's idol, never won. Neither did Martina McBride or Carrie Underwood or Tammy Wynette. So Swift capturing the top honor was quite possibly the biggest upset in the country music world in awhile. But just because it was surprising does not mean it wasn't deserved. Swift has been under contract since she was 15 (doesn't that make you feel so unaccomplished?). She's been writing much longer. She has shattered records in album sales for country, worked with some of the best country musicians and is headlining her own tour. She is a global phenomenon and has earned the recognition that she is receiving. While I have been a Swift fan since I first heard "Tim McGraw" the summer before freshman year, I have to disagree with her being awarded Female Vocalist. She is an entertainer. Her songwriting and performance skills are unbelievable. But she is known for her combination of raw talent and energy rather than for a booming, powerful voice. Up against some of the strongest voices in music, including McBride, McEntire and Underwood, she pales in comparison. But, perhaps showing their own adaptation to the change sweeping the country, the Association continued piling the platitudes on Swift. Swift's other two awards, for Music Video and Album, were no-brainers, and provided an excellent set-up for multiple Kanye jabs. Her upset win in Entertainer of the Year, though, wasn't the only shocker of the night. Sugarland beat out soon-to-be-defunct Brooks & Dunn for Best Duo. Lady Antebellum ended Rascal Flatts six-year reign in the Vocal Group category and Darius Rucker became the first black country singer since Charley Pride to win a major solo award win he nabbed the Best New Artist Award. Overall, it was a great night (that should have been covered in a far-more-timely fashion. I'll work on that for next year). The performances were quality, and, as I watched with my country-hating roommates, I actually felt knowledgeable about the music world for once. Now the real challenge for Swift is to see if she can continue on her upswing and repeat it all next year.  

The Observer

DPAC Delivers

By The Observer · Thursday, Nov. 19, 2009

As most students know, last week a little movie known as "Boondock Saints II: All Saints Day" arrived on campus. Many were surprised at the appearance of a wide release movie coming to campus and being shown for free in the Browning Cinema, one on the nicest theatres in the state of Indiana. But hey, it's a movie about Irish Catholics. This is an Irish Catholic university, why shouldn't they be here? But the "Boondock Saints" premier was actually part of a series that the DeBartolo Performing Arts Center (DPAC) and the Student Union Board (SUB) have decided to play throughout the year. It will give students something to do as the weather turns cold and the campus looks to be north of the Arctic Circle where even the penguins don't live. DPAC and SUB are working with big name studios and even some smaller independent film companies in an effort to bring premieres of all types to campus. Ideally, there will be a film every Tuesday with student ticket pick-up on the same day, similar to the Boondock set up. Realistically though, it will be closer to every other week as the program gets rolling. The event was first set in motion with a screening of "The Fourth Kind" on Nov. 3. Many have seen the sidewalk chalk on the pavement leading to the greatest dining hall on campus, South Dining Hall. The film was well attended, encouraging the head honchos to try for something a little newer and possibly more popular. What resulted was the mishegas that was the arrival of Troy Duffy, Sean Patrick Flannery and "Boondock Saints II." The campus was abuzz with talk of the premier, the Facebook faithful were aroused with the creation of a group and the line for tickets was longer than the 200-seat capacity by 10:45 a.m. for tickets that weren't slated to be distributed until noon. Needless to say DPAC and SUB had a hit on their hands. The enthusiastic response of the campus was a great encouragement and something tangible that could be shown to studios possibly interested in also taking advantage of the unique opportunity to show sneak previews at the University of Notre Dame. So cross your fingers and buckle up for what DPAC has in store as we close this semester and begin another, colder one. There is no word yet as to what the next cinematic sensation will be, but I'm going to go out on a limb and say probably the next James Cameron or Martin Scorsese film. One can hope. The movies shown at DPAC can be expected to be from smaller studios as the movie series continues to build momentum, but with continued support and enthusiasm from the student body, expect to see larger studios and bigger name titles arrive on campus. Come on, how hard is it to get excited about a free movie that you get to see before any of your friends back home can even think about buying tickets? Get excited, keep your ear to the grindstone and wait to see who DPAC can hook us up with next.

The Observer

Eclectic Reverie, Capturing Emotion

By The Observer · Thursday, Nov. 19, 2009

I've been doing a lot of thinking lately. For some reason, this means that I have been listening to far too many show tunes. And yes, I count "Glee" and "Once" as show tunes, thank you very much. There's something about songs written to tell a story that capture emotion in a very different way than other music. Of course, that's also why the playlist is not entirely show tunes: because sometimes not even the catchiest of songs can encompass everything you want to hear. Add more songs with well-written lyrics to the mix, and you'll find yourself with an enjoyable list of songs to jam to. 1.     Get Back to Hogwarts – "A Very Potter Musical"2.     Defying Gravity – "Wicked"(Kristin Chenoweth, Idina Menzel)3.     For Now – "Avenue Q"4.     My Eyes – "Dr. Horrible's Sing-Along Blog" (Felicia Day and Neil Patrick Harris)5.     Somebody to Love – "Glee" Cast6.     Falling Slowly – "Once" (Glen Hansard and Marketa Irglova)7.     His Name is Lancelot – "Spamalot"8.     Light My Candle – "RENT"9.     Funny the Way It Is – Dave Matthews Band10. Any Way You Want It – Journey11. Frequently Baby (She's a Teenage Maniac) – Mêlée12. Breakeven – The Script13. If I Fall – The White Tie Affair14. Fell In Love With You – Motion City Soundtrack15. Suspension – Mae16. Stationary Stationery - Anberlin1

The Observer

TV Masterpiece Cinema

By The Observer · Wednesday, Nov. 18, 2009

Avatar: The Last Airbender "Avatar: The Last Airbender," was a program on Nickelodeon from 2005 to 2008. It was about an "airbender" named Aang who is charged with saving the world from the Fire Nation through his mastery of all four elements — fire, water, air, and earth — which only he can accomplish due to his status as the Avatar. The show proved to be very popular with both young and more mature audiences, and it won multiple awards and critical respect. In early 2007, it was announced that M. Night Shyamalan had been hired to direct a live action version, the first work the director would be directing that he had not written. Sex and the City Perhaps one of the best TV-to-movie adaptations, the fabulous women of "Sex and the City" hit the big screen in the summer of 2008. In fact, the screen adaptation was so successful that Carrie, Samantha, Charlotte and Miranda will return to movie theaters everywhere in the summer of 2010. Making near seamless transition from HBO television to cinema, the bright and glitzy big screen version of "Sex and the City" has all the crucial components of the great success. With the perfect ratio of romance, girl time, drama, comedy, high fashion and a trendy soundtrack, the women of "Sex and the City" get better with age and the longevity on the big and small screen. Starsky & Hutch Witty dialogue, brilliant action scenes and a bromance for the age, "Starsky & Hutch," both the 1970s TV series and 2004 movie adaptation, has all of it. The show premiered in the late ‘70s, following the lives of Bay City cops David Starsky and Kenneth "Hutch" Hutchinson, two seemingly mismatched partners, and their adventures. The movie adaptation has all the same hilarious hijinks and even some of the same clothes. Not only that, it features four members of the Frat Pack: Ben Stiller, Owen Wilson, Will Ferrell and Vince Vaughn. Both versions are excellent for comic relief, and any diehard fan of the show would definitely get a kick out of the remade movie. Firefly Due to a rabid base of loyal fans the 2002 show Firefly was given a conclusion in the 2005 film Serenity. In Firefly, captain Mal Reynolds is the leader of a ragtag bunch of renegade smugglers in a surprising setting that can only be described as a space western, and even more surprising, it works … flawlessly.  With a trigger-happy mercenary, childish pilot, master mechanic, high-class prostitute, two ex-revolutionary officers, a priest with mysterious military connections, a wacked-out human weapon and sensitive doctor  all on the same boat, it is a show filled with hilarious interaction and is just plain fun. Fellow fans I leave you with this, I am a browncoat. Charlie's Angels Whoever didn't watch the "Charlie's Angels" show was missing out. The three beautiful angels and their adventures are still missed by many, but luckily their fans can find solace in the 2000 and 2003 movies starring Cameron Diaz, Drew Barrymore and Lucy Liu. Though the original was too good to ever be lived up to, the movies did the best they could. The spunky dialogue and genuine connection between the actresses does a good job at faithfully recreating the entertaining adventures of the original angels. A fun detail to the fans: Diaz, Liu and Barrymore reenact some scenes from the show during the credits. Power Rangers I think we can safely say that the phrase "It's morphin' time!" was a defining part of most of our childhoods. "Power Rangers" was a show I grew up loving, until a point far beyond when one was supposed to love it. When the movie came out, my life was completed. As a kid, I watched it multiple times in a row, because I could not get enough of their wholesome good-triumphing-over evil. A few years ago, I re-watched this gem of a movie, and it was … shall we say, only nostalgically awesome? The plot is nonsensical, the one-liners lackluster and the plot does not carry well. The movie is still a classic but far from the quality we've come to expect in our movies. Lizzy McGuire Once there was a lovable blond preteen who had a television show on Disney channel, and her name was Hilary Duff, or Lizzy McGuire. Narrated by her cartoon alter-ego, Lizzy helped young kids everywhere hash out their angst and dilemmas of elementary and middle school life. Then one day, Lizzy graduated, not just from the middle school but also to the big screen. In this wild adventure, she left the bland setting of American suburbs and departed to Rome. Here she conquers her stage fright and also discovers that she has an Italian lookalike who's a famous pop star. Add an international love interest and the complication of a friend who has always wanted to be a little bit more. With all the drama and cutesy pop music that makes Disney television so addictive, this movie is a successful screen adaptation of the childhood favorite. Star Trek Joining the realm of wizards and vampires in pre-release fever, the announcement of a "Star Trek" franchise being revamped into a movie to be directed by "Heroes" creator J.J. Abrams had fans across all generations geeking out. It also brought much deserved attention to a new Captain James T. Kirk, played by Chris Pine, which more shallow-minded trekkies can be totally grateful for. The action goes back to Kirk's origin in the Federation, and the beginnings of his famous relationships with Spock, Uhura, Scotty, Sulu and McCoy. So much more than a new spin on an old story, Abrams brought a re-born franchise to the masses as an incarnation of "Star Trek" that fans can wish to live long and prosper.

The Observer

Arrested Development Movie Might Just Happen After All

By The Observer · Tuesday, Nov. 17, 2009

People always want more, especially of things they can't have. They want more time, they want more money, they want more freedom and they want more "Arrested Development." Lucky for fans of "Arrested Development," more adventures with the Bluth family may well be in the cards. For those unfamiliar with "Arrested Development," it tells the story of a once-wealthy family which falls under police investigation for possibly shady business practices. In the center of everything is Michael Bluth, played by Jason Bateman, the only normal level-headed child of the Bluth family. It falls upon him to keep his family together through several years of hardship. Add a couple quirky siblings, a controlling mother and a father in jail and you have the makings of a hilarious sitcom. Yet, through treachery and accusations, Michael manages to keep his family together. After the show was cancelled in 2006, AD fans were up in arms. Though it ran for three years and garnered much critical acclaim, the show never managed to build a solid fan base, and was thus cut from the air. Since the time it was cancelled, AD's cult following has continued to exponentially, annoying original AD fans who blame its cancellation on low ratings. But the fact remains that many people are hungering for more. Now the big question on everyone's mind is: "Will there be a movie?" The answer appears to be "Yes." Rumors about a film started flying after the airing of the last episode. In the last scene, Ron Howard, who does the narration for the series, is pitched an idea for a show based on the Bluth family. He replies: "I don't see it as a series. Maybe a movie." For nearly four years fans have hung on those three words and it appears that their dreams may finally be coming true. Speculation about the film has been confirmed recently as Mitchell Hurwitz, creator and executive producer, has gone on record saying he is working on a screenplay with his co-executive producer James Vallely. It appears that until recently the biggest roadblock for progress on the film was whether all the actors were on board with a reunion. Hurwitz insisted that he would not go ahead with the project unless all the main actors were committed. Rumors flew that Will Arnett and Michael Cera may have been holding up development, but most recent words have confirmed that all cast members are interested in the project. At this point it may prove difficult to arrange everyone's schedules in order to shoot. Since the end of AD, many of the cast members have gone onto very successful careers. As of now, the movie seems to be moving forward. Early predictions have a release date of 2011, but with no cemented script or production date it is hard to know. For all the anxious AD fans out there, one thing is certain: all the cast members are on board and it appears that everyone is very interested in making this movie a reality. If nothing else, they know that it will be a lucrative venture, as there has been a constant interest expressed since the show went off the air. Oh, and rumor is that David Cross is so excited, he blue himself. The views expressed in this column are those of the author and not necessarily those of The Observer. Contact Genna McCabe at gmccabe@nd.edu

The Observer

Give Us More Gilmore

By The Observer · Tuesday, Nov. 17, 2009

I've walked the halls of Chilton spazzing about my first missed test and cruel gossipy girls, stressfully compared the pros and cons of Dean versus Jess (Logan was never the one) and waited anxiously for my college acceptance letters, calming my nerves with a cup of Luke's coffee. I've fought with Richard and Emily Gilmore amidst Friday night dinners, celebrated with all of Stars Hollow when the Dragonfly Inn opened and laughed as I coached Kirk, by far the town's quirkiest resident, through his first date.   I've even structured this article similarly to Rory's high school valedictorian speech, recounting numerous adventures led by the people of Stars Hollow, who opened up a world no one wants to leave. "Gilmore Girls," a show vibrantly poignant, realistic and lovable, created characters that not only entered your life for an hour a week (or two hours daily if you watch the ABC Family re-runs …) but also ingrained themselves into your heart and mind. Kirk was the precursor to "The Office's" Andy and Dwight.  Lorelai was the mother and best friend you always came to in times of need. Rory was the girl who, even when she fell apart, kept it all together. Luke was the soulmate you always saw yourself ending up with. The closing of the "Gilmore Girls" series was like a delicious Thanksgiving feast without the pumpkin pie. It was nice and all, but that pleasantly and slightly robust feeling of gluttonous contentment was missing. Rory (Alexis Bledel) hopped on the Obama campaign trail, Lorelai (Lauren Graham) and Luke (Scott Patterson) reunited and the town said their goodbyes. But as Disney so wisely taught us, a story is not finished until there's a happily-ever-after ending and too many questions were left unanswered for this story to be complete. Even Amy Sherman-Palladino, creator and executive producer of "Gilmore Girls," agrees.  She and her husband Daniel could not come to an agreement with television station The CW to continue their contracts after the show's sixth season and left the fates of our favorite town's residents in the hands of David S. Rosenthal, the show's writer and producer. "I wanted different things for Rory. I wanted her to follow a different sort of path … (go) off on her own adventure," Sherman-Palladino said in an interview with Michael Ausiello posted online Monday. "I don't want to totally say (what my ideas were), because if there is a movie in the making, I'm going to be basically delving back into where I left off, and then I'm kind of (screwed)," Sherman-Palladino said. Did you read that line carefully enough? It's still possible that a "Gilmore Girls" movie could be created. Sherman-Palladino admitted in the same article that she was still in touch with Graham and Bledel and that if there was a good enough story to tell, they would tell it. Amy, three years is enough time to think about what kind of story to tell.  Before Graham and Bledel get too old and wrinkly, please give them a plot to run with. Bledel's career is crying for some reinvigoration, especially after her latest flop "Post-Grad." Sure, Graham's entered the Broadway scene, but we all know she'll always be a Gilmore. The characters you created are too fantastic to bury in a series finale and your fans too enthusiastic to leave stranded in the land of what-ifs. "Gilmore Girls," where you lead, I will follow. Any-anywhere that you tell me to. Please lead us, your fans, to the movie theatres to see that final perfect wedding between Luke and Lorelai, the union of Rory and her future spouse (hopefully Jess) and a comforting closure for all of Stars Hollow. For Kirk's sake, give us more Gilmore. The views expressed in this column are those of the author and not necessarily those of The Observer. Contact Adriana Pratt at apratt@nd.edu

The Observer

Mystery Abounds in 'The Prisoner' Remake

By The Observer · Monday, Nov. 16, 2009

In its original form, "The Prisoner" was one of the most ambitious, revolutionary and compelling series ever aired on television. It acquired a dedicated cult following, and its influence has trickled into "The Simpsons," "The Truman Show" and even a few Slayer songs. The show was strange, beautiful, intriguing and heavy.

The Observer

Dining Hall Dish

By The Observer · Monday, Nov. 16, 2009

Welsh Family Hall recently opened a homemade baked goods store to rival the male dorm's pizza shops. Although this innovative idea begins to tackle the problem of unappetizing dinning hall desserts, I contend that with a little creativity, anyone can create saccharine sweets in our dining halls. This week's dish presents a few ideas for some decadent desserts. Channel your inner Paula Dean and start cooking!

The Observer

A Conversation with Shwayze

By The Observer · Monday, Nov. 16, 2009

Two weeks ago, a pair of Scene writers interviewed the music duo Shwayze in promotion of their new album "Let It Beat." The half of the interview involving producer Cisco Adler appeared last week. This is the (printable) portion of the conversation that transpired between Scene writers Mike Bartlett and Declan Sullivan and rapper Aaron Smith, a.k.a. Shwayze.

The Observer

Lady Gaga Unleashes 'The Fame Monster'

By The Observer · Monday, Nov. 16, 2009

After selling more than four million copies of her first album "The Fame," Lady Gaga will release an additional eight tracks on a re-release of the extremely successful album. The newly expanded album, entitled "The Fame Monster," will be available tomorrow.

The Observer

Pirate Radio: The Movie That Rocked

By The Observer · Sunday, Nov. 15, 2009

Originally called "The Boat That Rocked" in the U.K., the name change to "Pirate Radio" is literally banking on American's ability to make a hit (or hits) out of anything having to do with the outlaws of the ocean. This second film out of Richard Curtis, writer and director of "Love, Actually" doesn't fail in bringing these paisley and leather clad square pegs seamlessly together in a total ramshackle comedy.   Opening in the year 1966 and going through an epic year in the life of a rebel fraternity of disc jockeys with enough mojo to make Austin Powers look like a total drip, "Pirate Radio" capitalizes upon every possible stereotype imaginable about the time period, including the most outlandish outfits possible, with Rhys Ifans' character DJ Gavin often looking exactly like Snoop Dogg in the remake of "Starsky and Hutch." However, its hazy and floral-filled take on life makes for a spectacular romp through time, even pulling off possibly the most epic game of chicken ever conducted, and also is the first time the words "hep cat" have been used naturally in about 40 years. With headliners like The Who, Smokey Robinson and The Kinks, the music is practically another character, and one that is so stellar, the rest of the action has a hard time keeping up.       A nearly unrecognizable Sir Kenneth Branagh's performance as essentially "The Man," or a prudish BBC government minister, is spectacularly rigid, with the bland boxy-ness of his scenes completely contrasting with the colorful and swift-changing frames on the ship. The only color in his wardrobe is fantastically aristocratic pinky ring that only someone with a crest or Italian with "connections" could possibly pull off. He also has what some might categorize as an unhealthy obsession with the Queen. His character contrasts greatly with the always sublime, always slightly tipsy seeming Bill Nighy, who has played a pirate before in the "Pirates of the Caribbean" trilogy, and has not lost his roguish touch in playing the ship's more business-minded leader, Quentin.   Academy Award winner Philip Seymour Hoffman plays essentially the same character as he did in "Almost Famous," although that is definitely not a bad thing. Just picture this role as a prequel to his 1970s counterpart. The comparison also begs the question further into the movie - why must all rock and roll movies have a near death scene? It takes ‘live fast, die young' to a spectacular level.    Adorable newcomer Tom Sturridge plays young Carl, who will steal every anglophile's heart as the quintessential bashful, pale, shaggy haired British boy. In fact, the only way they can make his near total inexperience with girls plausible is by mentioning he has spent his whole life at all boys schools. As our guide through this boat, he does his job well in providing an outsiders view of the odd crew, including a particularly fascinating pirate named Thick Kevin, who is either very dumb or downright brilliant, also a quick cameo by Emma Thompson makes for a strong female presence in this otherwise fraternal escapade.   If this movie is one thing, it is rock and roll. It's fun, careless and what-the-hell spirit make "Pirate Radio" heartwarming batch of vigilantism. It's fun for sure, but don't expect anything but shallow waters when it comes to a good look at the movie's historical inspiration, Radio Caroline. However, there is no denying the comedic energy of this amazing cast.    

The Observer

The Flaming Lips Still On Fire

By The Observer · Sunday, Nov. 15, 2009

Critical respect and commercial viability make strange if not unlikely bedfellows in the music world, and nowhere is this contradistinction more apparent than in the modern rock's psychedelic stratosphere.  More often judged by album sales than album reviews, mainstream success comes infrequently to those that carve a psychedelic niche rather than appeal to the broader rock proclivities of most listeners. What distinguishes psychedelia from other alternative rock is an instrumentalist view of technology and an ability to maximize sound through creative editing and a synthesis of traditional and futuristic pop conventions. Some of the most benevolent yet rapturous aural assaults of modern rock come not from the three-piece groups with a prominent lead guitar, but from the dizzying array of strings and synths characteristic of an entrancing psychedelic dissonance.       Enter The Flaming Lips, a band as renowned for its critical acclaim as its immense commercial popularity over the past decade. Twenty-six years young, this formidable and fluxing gang of Oklahomans is currently a quartet that pivots on the direction of front man Wayne Coyne. These Dust Bowlers can attribute their status as an indie rock paragon to their longevity and the artistic breakthrough of 1999's enthrallingly complex "The Soft Bulletin."  Lauded by fans and critics alike, this multi-faceted masterpiece drew primarily from the Beach Boys' "Pet Sounds" for inspiration, utilizing synthesizers, drum machines and studio manipulation to depart from the band's budding punk artistry. Succeeded by 2002's "Yoshimi Battles the Pink Robots" and 2006's "At War with the Mystics," this euphoric triumvirate formed the basis for the band's popularity, resonating with college youths and rock enthusiasts versed in classic psychedelic outreaches ranging from Pink Floyd to The Who. Thematically these three albums were built as one – they all speak with a hopeful optimism about characters who battle to achieve their destiny, overcome internal vices intrinsic to humanity, and seek to transcend a world fraught with wickedness. Now, 10 years after the release of "The Soft Bulletin," the latest Lips release demonstrates another departure from the folds of their established conventions. The 12th studio release and first double album from the band, the aptly titled "Embryonic" is drenched in a sobering shower of evil, defeat and resignation to the inevitable.  "Convinced of the Hex," the album's opener and closest semblance of a single, utilizes all of the musical effects inherent to a Lips production, but delineates the album from its sanguine, if not thematically naïve, predecessors almost immediately with lyrics like "She says I like your theory/But it won't pass no test."  Perhaps a refutation of earlier optimism, other song titles suggest a similar distinction from past glories such as "Evil," a forlorn appeal to going back in time to correct one's inequities, "Powerless," and disc two opener, "The Ego's Last Stand." The album also features guest appearances by The Yeah Yeah Yeah's Karen O, whose vocals were recorded by Wayne Coyne via phone, and MGMT, and does hit several pop highs with "I Can Be a Frog" and "Silver Trembling Hands." "Embryonic" seeps slowly out of the stereo, wrapped in a cautious self-awareness that poses the most obvious difference from the triumphant signature ballads of The Flaming Lips. The album adds a solemn gravity to the typically atmospheric levity associated with the Lips' brand of psychedelic musicianship. Yet these differences, whether they prove a definitive reorientation away from the band's buoyant disposition or an ephemeral exploration of the murkier undercurrents of human nature, still make for an enjoyable album. Currently enjoying positive critical reception, the litmus test for "Embryonic" pivots around the opinion of Lips fans, who face a new sound and potentially a new direction from one of America's preeminent psychedelic rock groups.    

The Observer

Ryan Cabrera Still With Spikey Hair, Still Loveable

By The Observer · Sunday, Nov. 15, 2009

Ryan Cabrera's trademarked the poofy, spiky hair long before Edward Cullen's liberal use of hair gel ever started to make girls swoon. That's just one of the things the 27-year-old hasn't changed about his act. His crooning love songs are still catchy as hell even five years after they first became popular in 2004. The crowd at Legends on Saturday night knew all the words to songs like "40 Kinds of Sadness" and "Exit to Exit," and a few pockets of exuberant fans started chanting for Cabrera's biggest hit, "On the Way Down," even before opening act Steve Asiala had left the stage. Though he released a third album, "The Moon Under Water," in 2008, Cabrera mostly stuck to songs off 2004's "Take It All Away" and 2005's "You Stand Watching" for his 45-minute set. But the short performance still had room for some surprises. Standing alone on the stage with just his guitar, Cabrera wasn't afraid to experiment. During one song, he slipped in snippets from Miley Cyrus' "Party in the USA," Hanson's "MMMBop" and even Stevie Wonder's "Superstition." He also took on a song from Josh Kelley, who he toured with this summer. Even with Legends' low stage and open floor, some performers have surprisingly managed to put up an aloof wall, proving distant and inaccessible despite the three-foot distance from the mic to the audience. It'd be easy to presume Cabrera would do the same – this is, after all, the guy who was a TRL mainstay a few years ago. (Other musicians have not been so congenial, either. Students may remember that Good Charlotte so graciously took time out of their 2008 performance in the JACC to complain about the one audience member's "has-been" comment.) Despite his early success as a pop heartthrob, his hair and his notoriety as Ashlee Simpson's first boyfriend, Cabrera thrived in the small venue and intimate setting, and it's obvious his music still attracts people. The early arrivals to Legends were almost exclusively female, but by the time Asiala was finishing up, a good number of guys had shown up. Some even held aloft signs saying "Marry me, Ry." Cabrera laughed about the display, especially a few with more explicit requests (Legends security confiscated those ones). From the start, Cabrera kept up crowd energy. His thumping guitar led to a few rounds of beat-keeping claps from the audience, and more than once he posed with the front row for a picture to go on his Twitter. After a few songs, he took off his jacket to reveal a Notre Dame T-shirt, which elicited a cheer from the floor. He was engaging, chatty and clearly singing his heart out on songs like "Shine On" and the much-anticipated "On the Way Down," which he let go on for a few more choruses so the crowd could sing along. People coming for a "Ryan Cabrera show at Legends" got exactly what they expected and then some: an energetic performer who was genuinely glad to be playing a fun, quick show.

The Observer

Asian Allure: Tradition and Novelty Combine

By The Observer · Sunday, Nov. 15, 2009

Thanks to Asian Allure, students at Notre Dame were transported halfway around the world on Friday and Saturday nights. The Asian American Association performed its annual cultural show celebrating dances, music, and fashion of Asia. This show is their chance to spread a little bit of their culture to other students who either do not see enough of it on campus or do not know what Bhangra or Pukol are.  Asian Allure used the theme of "Asian Allure Live" to tie the show together. Between the acts, the cast acted out variations of famous "Saturday Night Live" skits, such as "the Cheerleaders" and "Night at the Roxbury." Some of these went over better than others with the audience, such as "Coconuts," a deviation from the popular "Cowbell" skit with Christopher Walken. While the skits were amusing, they were not the main focus of the show and were not necessary. Most of them only had a loose connection to the following performance. Many of the acts were energetic and fun for the audience. The show started out with one of the best performances, Modern Tinikling, a Filipino dance. Performers had to be light on their feet, as they jumped in and out of long bamboo sticks that were being hit on the ground and against each other to the beat of the music. The dance is indigenous, but in Asian Allure, today's popular music was used. The Vietnamese Lion Dance was another crowd pleaser. Two students were in a traditional, ornate, lion costume and they danced to a mix of songs with widely known steps, such as "Soulja Boy" and "Cupid Shuffle." Throughout the show, the dances that used the juxtaposition of traditional dances with modern and familiar music were the most enjoyable. These dances represented Asia's rich history and tradition, which Asian students at Notre Dame chose to balance with their position as youth in a modern world. Some dances were strictly traditional, such as the Con Rong Chau Tien Vietnamese dance using fans and flags. Conversely, the KPOP act was performed by the Korean Student Association in stylish and provocative outfits. They danced to Korean pop music, instead of a historical dance. It was interesting to see a thoroughly modern representation of Korean culture.  The Japan Club and the Chinese Cultural Society performed intense acts: Soran Bushi and Students of Shao-Lin, respectively. Students of Shao-Lin used fans and martial arts in a way that was comedic and playful, yet impressive.  The Belly Dancing performance by the Arabic Cultural Club was traditional. However, it will always have a timeless appeal, so it translated well to today's audience. The Bollywood dance also added fun to the night, capitalizing on the popularity of "Slumdog Millionaire" by using the song "Jai Ho."   Apart from the dances, there were several vocal performances. senior Simon Chun gave a notable performance of "Hallelujah," and senior Jeanna Yoon sang a sweet and laidback version of "Fallin' For You" with graduate studentJoe Hagmann on guitar. Senior Greg Abbracciamento had some difficulties when his mike did not work during his first performance, but his impressive piano skills were still on display. Thanks to the seemingly endless cheers from his fan club in the audience, he was able to come back out to perform "When You Were Young" by the Killers at the end of the show.  Asian Allure does not feature flawlessly performed, professional dances, but this is part of its appeal. It is important to see how our friends and classmates present their cultures, which is such a large part of who they are and where they come from. Overall, Asian Allure was a fun and culturally rich night.  

The Observer

The Sugar Wife

By The Observer · Thursday, Nov. 12, 2009

"Tea and coffee, such bitter little drinks …" This is one memorable line taken from Elizabeth Kuti's "The Sugar Wife," which is currently playing at DeBartolo Performing Arts Center's Decio Mainstage Theatre.  

The Observer

The Way We Get By

By The Observer · Thursday, Nov. 12, 2009

Courtney Eckerle: How did this idea for a documentary start? Gita Pullapilly: I met [director] Aron Gaudet while I was working in news, and this was before I knew that anyone could just pick up a piece of equipment. We thought a documentary was our best option, coming from a news background. He took me home in December of 2004 to meet his mom, and we were looking and looking for stories and couldn't find anything. Aron's mother was going out to greet troops at three in the morning, and we went with her. It was the first time I met WWII veteran Bill Knight. He had been diagnosed with prostate cancer that day, and he was still at the airport greeting troops. Aron and I looked at each other and said, "Yes, this is going to be a good story." We realized the challenges, but five years later ... here we are." CE: Why are these three characters so compelling? GP: They were so open and honest, right from the very start. If they were happy, sad, if something was happening, you would go on this journey with them. We wanted that tone. If something was happening in their lives we wanted to go on that journey with them. When you watch the film, you are discovering things as we are. CE: What significance does the title have? GP: When we were making this film the title was the most important to us, because we knew it would either appeal to people or it wouldn't. It's about everyday life. "The Way We Get By" is really about ... the way we all get by. The way we overcome difficult obstacles in our life. We see it as a very universal film. People who watch it have a very deep, personal connection with all three of our subjects. So they come out of theater inspired to do something for their community. CE: You majored in finance at Notre Dame — how did you find your way into filmmaking? GP: I graduated with a finance degree, and my first job was financial analyst for General Mills. I quickly realized I did not want to work in the corporate world. I was looking for other opportunities, and I had done some work for The Observer and The South Bend Tribune in school. I went to grad school at Northwestern and did journalism there. I loved the storytelling aspect, and I loved the avenues video had. It's compelling to see how the visuals could tell a story, and that's how I got into television news — my first job was in Green Bay with a CBS station. I love being able to tell stories, but when you're in a newsroom your stories are really short so you really can't get to the heart of the story. CE: How important is the idea of growing older in this film? GP: One thing we realized about this film is senior citizens are pushed aside in our society. They have so many skills and talents, and they're just forgotten. We think that because they are past a certain age they have lost their purpose, but in fact they have more purpose than most of us. There are people who have had amazing careers and are still waiting to share their stories and wisdom. CE: What are some of the ideas you hope people come away with after seeing the film? GP: I think the film affects people in a lot of different ways because there are layers — supporting the troops and seeing that seniors have a purpose in their lives. Anyone can do anything in a short amount of time and have a huge impact. The story takes place in Bangor, Maine. It is seeing how in this small community, people aren't worrying about the politics and are seeing that these humans beings are sent off with respect and come home with respect. CE: What shape does the "hero" take in this film? GP: A lot of it is showing that ordinary people can do such ordinary things and have a huge impact on people. Our tag line is: "Sometimes all it takes is a handshake to change a life." And we really believe that. You don't have to be a superhero to do that. You can be an ordinary 87-year-old WWII veteran and know that you're doing something to change someone's life every day, and dedicated to something. Bill [cast member William Knight] struggles with finding purpose in his life. He finds this purpose and realizes that he is helping them do something, and making a difference. For Bill, this film has come full circle for him and he realizes that he does have meaning in his life, he does have a purpose. In all the theaters we've been to where he comes, he gets a standing ovation. CE: What makes this film so special? GP: At the heart of it, it's all about that human connection. We all know what it's like when we're coming home and someone's waiting there, and we all know what it's like when you come back and no one is waiting there. Multiply that with a life and death situation, like heading off to war, or coming back after being in a war zone for the first time or even the sixth time.  

The Observer

Lessons Abound in "What I Know Now" and "If I'd Known Then"

By The Observer · Thursday, Nov. 12, 2009

If you could write a letter to your younger self, what age would you pick, and what would you say? It was by asking this question that Ellyn Spragins published her two New York Times bestsellers, books composed of a collection of highly inspirational and touching letters written by today's most successful, respected women, advising and motivating their younger selves to get through whatever difficulty or challenges they would face.  

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