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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.  

The Observer

Inspired By "The Way We Get By"

By The Observer · Thursday, Nov. 12, 2009

     "The Way We Get By" is a documentary directed by Aron Gaudet, a Notre Dame alumnus. The film gives a close-up view of the lives of three senior citizens who have dedicated their time to showing appreciation and support for the American armed forces. These three volunteers, along with many others, are on call around the clock to show up at the airport in Bangor, Maine to greet troops returning from service in Iraq or Afghanistan. Fittingly, the film debuted on Veterans Day on the PBS series "Point of View."

The Observer

Playlist of the Week: California Dreaming

By The Observer · Monday, Nov. 9, 2009

The amazing weather this weekend put me in a Californiastate of mind. Yet I know that soon enough our lives at Notre Dame will moreclosely resemble "California dreamin' on such a winters day". Hopefully thisplaylist will help you fight the winter doldrums and imagine yourself in warmand beautiful California. The amazing weather this weekend put me in a California state of mind. Yet I know that soon enough our lives at Notre Dame will more closely resemble "California dreamin' on such a winters day". Hopefully this playlist will help you fight the winter doldrums and imagine yourself in warm and beautiful California. 1.     California Dreamin' — The Mama's and the Papa's2.     Ocean Avenue — Yellowcard3.     California Girls — The Beach Boys4.     West Coast Friendship — Owl City5.     Californication — Red Hot Chili Peppers6.     Hotel California — The Eagles7.     Meet Me In California — Plain White T's8.     Lights — Journey9.     It Never Rains in Southern California — Albert Hammond & M. Hazelwood10.  Surfin' USA — The Beach Boys11.  California — Phantom Planet

The Observer

Illmatic: A Member of the Pantheon of Greats

By The Observer · Monday, Nov. 9, 2009

It's not a strange coincidence that the penultimate works of any modern artistic form come long before the form itself reaches its peak. The newest form will, without fail, attract the geniuses needed to push the form to its limits, leaving the future carriers of the form to merely fill in the blanks. As a general rule, this works: there will never be a better video game than "Zelda: Ocarina of Time," nor a better movie than "Citizen Kane."

The Observer

This Week On Campus

By The Observer · Monday, Nov. 9, 2009

Tuesday: The Boondock Saints II: All Saints Day at Browning Cinema, DPAC, 9:30 p.m.The sequel to one of students' favorite cult movies, "The Boondock Saints," is being shown at a special free screening. Much like the first film, the sequel continues to follow Irish-Catholic brothers as they take revenge and bring justice in Boston after they are framed for a murder. The director, Troy Duffy, and several actors, such as Sean Patrick Flanery, will be present at the screening. Fans should take advantage of an informal discussion with the actors and director about the films in 105 Jordan Hall of Science at 7 p.m. Free tickets will be given out at the DPAC box office starting at noon Tuesday. Wednesday: The Sugar Wife at DPAC, 7:30 p.m. The Department of Film, Television and Theater presents Elizabeth Kuti's play about a couple living in a Quaker community in the 19th century. The couple faces moral dilemmas revolving around slavery, poverty and faith. The play is sure to make its audience think about how they would feel if they were in the same situations. Go to see your classmates assume the roles of these complicated characters, and stay to watch the compelling story unfold. Tickets are $10, and "The Sugar Wife" runs from Tuesday to Sunday. Wednesday: The Way We Get By, 9 p.m. Notre Dame alumnus Gita Pullapilly's new documentary film about three senior citizens who greet American troops as they depart for and return from Iraq airs on PBS as the Point of View special. Pullapilly interviews the subjects about their experiences with the soldiers, but the film also explores issues of aging, loneliness and mortality. Support a Notre Dame alumnus by tuning into the special, but this film also will open your eyes to two pushed-aside groups: the elderly and soldiers. Hopefully, viewers will be inspired to show more compassion towards strangers. Thursday: Baraka Bouts at JACC Fieldhouse, 6 p.m. The Notre Dame Women's Boxing Club is ending its 10th season with its annual Baraka Bouts, a charity fight night that allows the nearly 60 female boxers a chance to show off their hard work from training. You will be able to cheer on your friends and classmates as they pummel each other, while at the same time contributing to Baraka Bouts' charity, the Holy Cross Missions. Tickets are $5 at the door. Thursday: Funny People at Debartolo 101, 10 p.m. This week's Student Union Board movie is Judd Apatow's latest film, "Funny People." Starring Adam Sandler and Seth Rogan, this film mixes Apatow's signature humor with a dramatic tone, pleasing all types of audiences. Sandler's character is diagnosed with a terminal health condition and decides to become a mentor to Rogan's struggling comedian. There will be plenty of laughs, but also many touching moments as the characters struggle with their life decisions. Tickets are $3, and the film runs Thursday through Saturday. Friday: Asian Allure at Washington Hall, 7:30 p.m.Sometimes Notre Dame gets the reputation of not being diverse enough, but this is not really the case, especially when students take advantage of cultural events like Asian Allure. The Asian American Association is putting on a show with singing as well as many traditional and modern dances. It is a great opportunity to learn about different cultures in an exciting way. Everyone is sure to be entertained with the many musical numbers. Tickets are $7 at Lafortune Box Office or $10 at the door. The show will also run Saturday night. Friday: Ryan Cabrera at Legends, 10 p.m. If you are in the mood for a concert, pop singer Ryan Cabrera is coming to campus. Cabrera is known for his hits "On the Way Down" and "Shine On," as well as his status as ex-boyfriend of Ashlee Simpson, who he appeared with often on her short-lived MTV reality show. The smaller venue of Legends will combine perfectly with Cabrera's music to give an intimate and personal feel to the performance. If you were a fan of the Howie Day show last year, you will not want to miss Ryan Cabrera. Saturday: Idan Raichel Project at Leighton Concert Hall, DPAC, 7:30 p.m. Israeli music is not instantly recognizable to Americans. Idan Raichel is trying to change this with his band, the Idan Raichel Project. Their music has Hebraic and African rhyme and rhythms that speak to the origins of humans and culture. This concert will allow students to experience a momentary escape from South Bend to halfway around the world. Maybe Israeli music will be your new favorite, and you can be the cool, trendy friend in your group who listens to Israeli music instead of Lady Gaga. Tickets are $15. Snite Museum Exhibits, Now-Dec. 20 For art lovers, take advantage of the on-campus Snite Museum, which is featuring three new exhibits: Dia de los Muertos (Day of the Dead) Ofrenda Installation Con Ganas (With Heart), Darkness and Light: Death and Beauty in Photography, and Bill Kremer: Sculptural Vessels. The Dia de los Muertos exhibit showcases art by Maria Elena Castro that honors her father and other deceased relatives in celebration of the Mexican holiday. Continuing with the theme of death, the Darkness and Light exhibit is a wide range of photographs that have underlying themes of death and beauty. Come support Notre Dame Professor Bill Kremer, who has had a large influence on ceramics at Notre Dame. These exhibits, as well as the permanent ones, are sure to be thought-provoking.

The Observer

P-P-P-Poseur Hate, P-P-Poseur Hate

By The Observer · Monday, Nov. 9, 2009

"Put on some pants. It's cold outside," would probably be the first thing Lady Gaga haters would say to her if given the chance. Wearing nothing but a sparkly leotard, tights, high shoes and something weird and lacy on your face doesn't make you cool. It makes you freezing. So cool that you start heading in the other direction, and that is exactly what Lady Gaga has started to do. She's gone from different to being a caricature of herself. Sure, the Lady gets paid, but that only shows how much the MTV generation is hooked onto shock value and addicted to the opinion of the almighty Perez Hilton. Gaga's new video for her song "Bad Romance" premiered this week, and the theme is meant to capture the "tough female spirit," as she told MTV news in a recent interview. Gaga said the video finds her kidnapped by a group of "jealous supermodels," who then send her off to the Russian mafia. Taking a card from Saturday Night Live here by saying really Lady Gaga? REALLY? Displaying the tough female spirit? First of all, you should be worrying about your toughness if you can't get away from a few scrawny super models. Secondly, what does the Russian mafia want with a pop singer? And why are they using said models as their henchmen? Were the usual goons busy? They probably regretted the decision because (spoiler alert!) Lady Gaga fries them to a crisp with an unusual weapon in the end. The video is horrifying mental gibberish. It seems as though she is banking on people being so freaked out and confused that they think, "I can't understand any of what's going on here- it must be genius. Gaga is amazing, just so far beyond us!" Her big "fashion statement" of the music video is razor blade sunglasses. She also told MTV, "I wanted to design a pair for some of the toughest chicks and some of my girlfriends — don't do this at home — they used to keep razor blades in the side of their mouths," she explained. "That tough female sprit is something that I want to project. It's meant to be, ‘This is my shield, this is my weapon, this is my inner sense of fame, this is my monster.'" What? How does that even make sense? Who walks around with a razor blade stuck in their mouths? That's not the female spirit, that's ... terrorism. Or drug abuse. You don't have to have seen "The Dark Knight" to know how carrying razor blades around in your mouth can go wrong. Gaga's smart though, she knows she's paid to be crazy. Is half the stuff she pulls really for her, or is it for us, her thrill-seeking audience? How can you have an album called "The Fame" before you're famous? It's the same question people were asking 20 years ago with Vanilla Ice — how can he be "back" if he just got here? Now look where he is. The last thing anyone remembers is when he was on "The Surreal Life" with Verne Troyer. The only good thing that has come out of Gaga-mania is her music. It's fun to listen to, she deserves credit for it. Is it iconic, seminal, spanning-the-generations music? No. If "Just Dance" becomes the next "Hey Jude" or "Vogue" ... God help us all. Yes, she can sing, but who even cares when she has blood tears coming out of her eyeballs at the VMAs? She told Alexa Chung earlier this week she was "upset there wasn't more blood." I guess some people just don't understand the art behind a good eye-to-blood ratio. Then again, at this point, the only way any of us would be shocked by her is if she showed up somewhere in jeans and a T-shirt. The girl is from New Jersey. Don't tell me she doesn't own a pair of jeans. There is nothing worse than a cheap imitation. Whether it's a knock-off purse or a knock-off artist, it's just not the same. Madonna did it 25 years ago, and she did it better. There is no hating on different here, it's hating on different for different's sake. Crazy is a formula for fame. When were people talking about Britney Spears the most? Michael Jackson? She just put a new spin on monkey-see, monkey-do. Lady Gaga, aka Stefani Germanotta, is a p-p-poseur.

The Observer

Mythical Matchups

By The Observer · Monday, Nov. 9, 2009

Semi-Finals Paul Bunyan def. the Hydra Showing intelligence that many thought was far beyond his reach, Paul Bunyan used supreme strategy to defeat the multi-headed serpent. "Everybody thought that I was completely unaware that his heads multiplied," Bunyan said. That was certainly the initial thought of the entire audience as Paul Bunyan started off the match by using his axe to sever seven of the Hydra's heads. This, however, was his strategy, and he ran away soon after, avoiding the 16 heads that grew off the beast. Using his supreme size and axe-handling skills, Bunyan was able to keep his distance from the Hydra and dexterously hacked off heads, forcing the Hydra to grow many more. "I knew that the heads would eventually weigh him down," the Hydra said. "I already had a size advantage, and the more heads that grew, the more speed I gained on him as well." Apparently feeling like 742 heads made the Hydra sufficiently slow, Paul Bunyan ran up the cliff and began the next phase of his eventual victory. His move to the cliff drew the Hydra underneath, and Bunyan started to chip away at a large chunk of the cliff. The Hydra snapped away as Paul Bunyan broke off a gigantic chuck of rock, crushing the Hydra, who was unable to dodge the falling cliff because of his newfound obesity. The Dragon def. Godzilla Using a strategy that has served him well throughout the tournament, the Dragon used an aerial vantage point to dodge and destroy the king of the lizards. Taking off instantly as he is want to do, the Dragon was patient and was able to survey the match before attacking. Godzilla became frustrated early, which played into the strengths of the Dragon. Firing lasers out of his mouth in all directions, Godzilla exhausted himself quickly, giving the Dragon his opportunity to strike. "He's just so dumb," the Dragon said. "He gives all reptiles a bad name. King of the lizards? You've got to be kidding me." After exhausting Godzilla, the Dragon flew through the air in circles, and Godzilla could do nothing but follow him, making himself dizzy. The Dragon then took his opportunity and dove into Godzilla, knocking the giant lizard off of his feet. Wishing to show his domination, he used his fire breath and his claws to ravage Godzilla, who could do nothing now that he was both exhausted and dizzy. "Intelligence over brawn, any day," the Dragon said. "But wait, I was stronger than him too. Oh well, I was just better. And that's why I won." Finals The Dragon def. Paul Bunyan In what truly was a clash of the titans, the Dragon came out on top in a battle that was fiercely contested and truly came down to the wire. "Paul deserves credit," the Dragon said. "I have all the respect in the world for him, and he beats me five times out of 10 in this battle. Having said that, I came out on top, and there's a reason for that." The Dragon characteristically took off to start the match and tried to scope his territory. Paul Bunyan was so large, and the Dragon had to fly so high, that his vantage point became skewed and he returned to earth. He kept his distance from Paul Bunyan, who was also being patient, having learned from those who had previously lost to the Dragon. "I knew that he would try to take me out of my element," Bunyan said after the match. "I wasn't going to let him do that." The Dragon knew that he would have to fly to be victorious, so he took off, but swooped quickly and came towards the giant lumberjack. He had to swerve just as quickly, however, because Paul Bunyan was ready for him, and the Dragon narrowly missed a mighty swipe of Bunyan's axe. Reading Bunyan's intentions, the Dragon took off again, and faked a dive. Bunyan once again unleashed his axe, but the Dragon was ready, and dodged the attack before actually diving towards Bunyan. He took a mighty bite out of Paul Bunyan's arm, forcing him to drop his axe. The Dragon reacted quickly and grabbed the axe, flying it as far away from their current battlefield as he could. Upon returning, he faced Bunyan and they began to battle with brute force alone. The Dragon tried to take off once more, but Bunyan grabbed him and held him down. The Dragon then let out a stream of fire, which scorched Bunyan's skin. In this moment of hesitation, the Dragon was able to bite down on Bunyan's neck, pinning him to the ground in a nearly helpless position. Bunyan tried to struggle away, but the Dragon's vice-like grip with his teeth was too much, and Bunyan finally conceded defeat. "I didn't want to permanently damage such a fierce competitor," the Dragon said. "He gave it his all, but I came out on top. I'm the champion, and that's all that matters at this point."  

The Observer

Loving This Lady

By The Observer · Monday, Nov. 9, 2009

For those of you who have been living under a rock for the past year I would like to introduce you to the newest and most eccentric pop phenomenon of our generation, Lady Gaga. Redefining what an entertainer is can be a challenge, but for 22-year-old Gaga, it is just another day at the office. The name says it all from her over-the-top fashion sense to her out-of-control vocal talent. Lady Gaga is the newest princess of pop making heads turns everywhere she goes, whether she is strolling down the streets of New York in skintight leather jumpsuits or rocking red lace from head to toe at the MTV video music awards.  For many, Lady Gaga is misunderstood. It is easy to label someone as crazy and out of their mind but being an entertainer in the music industry today requires a few of these traits. Many people think she is obnoxious and inappropriate when in fact she is contemporary and confident.  Lady Gaga commands crowds whether she is in sold-out amphitheaters or packed political protests in Washington D.C fighting for gay rights. She is loud and she knows it. Her debut album entitled "Fame" in August 2008 stopped every record label in its tracks. After being dropped from Def Jam Records at age 19, she teamed up with R&B artist Akon and Interscope Records where they let her creativity and lyrical masterpieces thrive. After having two hit singles, "Just Dance" and "Paparazzi," she quickly fixed herself on everyone's radar. Fans flock to her concert shows, which are actually more like theatrical performances where she wears everything from patent leather high boots to her signature blonde hair bows. Gaga has mastered the art of performance saying, "every minute of my life is performance." Her dedication to her work is inspiring, and it's refreshing to see it being accepted by millions. She has said she would rather people recognize her performances and work as an artist then herself as an actual individual. Her unique ideas and original creativity is what has made her one of the biggest rock, pop and theatrical stars of our time. Her category-defying persona is addicting whether people listen to her over the radio or live. Her presence on stage is electrifying with 70s glam-inspired moves and her jaw dropping sound. For such a petite woman she has no problem belting out an unbelievable voice that travels to everyone's nightclub and iPod worldwide. Lady Gaga marches to the beat of her own drum, literally when she is comfortable enough to prance around in leotards and four-inch heels singing songs like "Beautiful, Dirty, Rich," ‘I Like it Rough" and "Money Honey." People choose to ignore her and think of her as a fraud, insane and completely out of her mind but those who disagree are her devoted and obsessed fans. Whether she is practicing her English accent or writing her own lyrics, she has managed to keep the public eye focused on her. A New York native since birth, she proves she has what it takes to stay in the game and progress as an ultra-modern and groundbreaking artist who is consistently delivering unthinkable ideas. Lady Gaga is not afraid to express her art and that is why she has come this far. Her music videos act as mini movies and her dedication to her style and lyrics earn her front page covers of Rolling Stone and Asos magazines. People may not agree with her artistic approach and edgy dirty songs, but enough do. Whether you hate her or love her, she is laughing all the way to the bank.

The Observer

Notre Dame Cult Classics

By The Observer · Sunday, Nov. 8, 2009

With the upcoming release — and preview screening here at Notre Dame — of "The Boondock Saints II: All Saints Day" fast approaching, all the excitement on campus begs a question: Why does Notre Dame love cult classic "Boondock Saints" so much? In lieu of extensive research and a definitive answer to this question, here instead is a glimpse at some of Notre Dame's own cult classics. Not all are Irish, and not all garner the respect and adoration that "Boondock Saints" does. But Domers love them anyways. From hilarious musicals to anarchical action flicks, Notre Dame loves to spend those months without football watching these movies, over and over again, getting them the coveted distinction of being Notre Dame Cult Classics.

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