Scene

Download, Listen, Discard

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

Download, Listen Discard

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

Know Thy Shelf

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

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

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

ND Dance Company Performance Tonight

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

Life of Pi': Seeing is believing

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

Now That's What I Call Music' Recap

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

Campus Cafes with Claire

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

Lincoln': good acting, boring plot

An Unexpected Ending to 'The Twilight Saga'

Style with Sean

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

The 10 Best Foods to Have for Thanksgiving

Tom DeLuca hypnotizes at LaFortune

Country comes to Compton

Campus Musician

If you attend Mass in Knott Hall on Sunday nights, you might be able to catch junior music major Michael Thompson playing bass for the dorm's choir. He's a tenor in the Glee Club, bassist for the Pasquerilla Music Company and Notre Dame's Symphony Orchestra and plans to attend graduate school for music theory. He said it all started with a song he heard by Led Zeppelin in high school. "I heard 'Black Dog' by Led Zeppelin," he said. "And after hearing that, I thought, 'I want to do that.'" Thompson has played ever since. "I practiced a lot," he said. "When I came to Notre Dame, I was originally planning on doing economics, but I was also planning on the music track as well. But by the end of that year, I just liked my music homework so much more than my economics work so I just stuck with that instead. I don't regret it at all. I enjoy being a music major." He studies with Prof. Darrel Tidaback, Notre Dame's bass professor. "Darrel Tidaback is a jazz guy. He is probably one of the only solidly jazz guys here," he said. "I worked with him last summer doing some research with him at the University of Chicago on altered dominant chords." Dominant chords are built on the fifth scale degree of the diatonic scale. "A dominant chord is the chord that pulls back to the tonic chord. To alter a dominant chord, you take the fifth and raise it slightly by a half-step," he said. "It makes it a bit more tense." Thompson said he wanted to know more about the altered dominant chords he heard in jazz and earlier variations found in composers like Chopin. "I was looking at Chopin's use of [altered dominant chords], and I got the idea from looking at some jazz stuff with Darrel," he said. "It's a longer process than I was able to cover. I'm planning on building a timeline of the fully altered dominant chord. The fully altered dominant chord has four alterations to it. Hopefully next summer I can look at some later music to see how the other alterations piled in." Between Glee Club and the orchestra, Thompson studies Schenkerian analysis. "It's is a way to analyze different tonal compositions. It's kind of necessary to know if you want to go to grad school for music," he said. Thompson said he is considering the University of Chicago for music theory. "I'd like to continue my quest to find the origins of the altered dominant chord," he said. "But I'm going to try looking into schools who have Glee Clubs. I get a joy from playing [and] listening that I just can't get from really any other study or thing to do. I just really enjoy music. I can't really give a better answer than that," he said. "It puts a smile on my face." Contact Meghan Thomassen at mthomass@nd.edu 

Paradise' Almost There

Being a female pop star today entails more than just singing. In fact, on the list of requirements to make it big on the music scene, the ability to sing ranks pretty low on necessary traits. Higher on the list includes cultivating a certain persona or act, collaborating with the hottest producers and maintaining a certain degree of fame (or infamy). This formula of sorts has been followed to a "t" by American songstress Lana Del Rey, whose latest EP, "Paradise," was released Nov. 13. "Paradise" continues the development of Del Rey as both a singer and an artist following the release of her debut studio album "Born to Die" in January. Featuring just eight songs, "Paradise" fits in with Del Rey's act while also being more tightly produced and efficient than "Born to Die". Del Rey's music is based not so much in her talent (which she does have) as it is in her persona. Born Lizzy Grant, Del Rey took several stage names before settling on her current title. The singer describes her image best as a "self-styled gangsta Nancy Sinatra" or "Lolita lost in the hood". Either are bizarre descriptions, but they are fitting: Del Rey takes cinematic music that harkens back to the 1960s and gives it a modern twist. It's high-concept stuff and it sounds better in theory than it does on an album. Del Rey has crafted a persona to live up to, and her progression as a singer-songwriter is as much about crafting better music as it is crafting music that better fits into and pushes her role. With such a challenging character to portray, it's only natural to think it is going to take time for Del Rey to get "better" at playing it. And in "Paradise," she does. The first track, "Ride," might be Del Rey's best song ever. It is sweeping and grandiose and has a remarkable way of being multi-faceted, a departure from many of Del Rey's glum one-dimensional songs. Additionally, "Ride" isn't bogged down by some of ultra-melancholy themes that can be repetitive in Del Rey's work. Instead, the track, produced by Rick Rubin, is catchy without being generic, extravagant without being pretentious. Be sure to check the song's mini-film (It's hard to call it a music video when it's longer than 10 minutes.) It's trashy, kitschy and American in the best (and worst) way possible, but also highlights one of Del Rey's weaknesses: Sometimes, it seems like she is trying too hard and is being controversial for controversy's sake. This notion of trying too hard serves as a perfect segue to the second single off the album, "Cola.". Shockingly enough, the song is not about the drink but how Del Rey claims her boyfriend describes a certain one of her body parts. The song itself is catchy and fluid, but when combined with her playing a prostitute in the "Ride" music video and describing her act as Lolita-like, it sometimes seems like Del Rey is being a lightning rod of controversy so people will listen to her music out of shock or curiosity, rather than because of her talent. It's a bit of a shame, because listening to "Paradise," it is readily apparent Del Rey has the vocals that so many female singers are lacking. Normally, pop stars use an "image" or "act" to cover up vocal deficiencies, but in Del Rey's case, her persona can tend to mask or hide her true talent. Listening to "Paradise," it is readily apparent that her voice caresses and plays with the lyrics in a beautiful, gentle way, especially on "American" and "Body Electric". Del Rey has also done a good job of singing about more diverse themes than her typical "sadcore" sound. Her signature melancholy sound achieves new dimensions in the spritely "Blue Velvet" and the aforementioned "Ride" and thus her music is a more enjoyable listen. Overall, "Paradise" is a solid effort from Del Rey and a nice collection of songs - a step in the right direction, if you will. Del Rey's next move as an artist is to discover a balance between "Lana Del Rey" and her music. It couldn't hurt to further develop the themes and emotions behind her music. The talent is there, now she just needs to highlight it better. Contact Sam Stryker at sstryke1@nd.edu 

Keep Calm and Style On

We all have those days. We sit with our laptops open in front of us and our books sprawled out aimlessly across our desks. We write the headings for our seven-page papers and then reward ourselves with hour-long Facebook, Twitter and Instagram perusing extravaganzas. Some refer to this phenomenon as the nightmare of procrastination: an unavoidable disease that infects many a college student, many a day or night, inhibiting them from reaching their full potential of academic productivity. I, on the other hand, like to refer to this sort of behavior as normal and necessary. Here at Notre Dame, as well as at other top-level colleges and universities worldwide, students know what it means to work hard. We stay up late and wake up early. Most of us participate in a series of extracurricular activities, where we act as leaders, learners, pioneers and problem solvers. No matter how unlikely it may seem, at the end of the day, the seven-page paper, the extensive lab report, the business presentation, the acting monologue, and the musical composition are all miraculously done. This, my friends, is the art of the being a college student. Like coffee and Taco Bell, Starbucks and Au Bon Pain, methods of procrastination are just ways to keep us up and working. So why have I written this long paragraph about the necessity of procrastination when this is a fashion column and you're most likely interested in fashion? Well because if you're anything like me, then you're tired of always resorting to the common social media websites to temporarily free you from your studies. You're looking for something new and exciting that will spark your attention and will keep you up and wanting more. You're looking for websites that are fun, fashionable and procrastinator-friendly, and you've come to the right place. I've scoured the web to find some of the most fun and interesting fashion sites in all the land. Check them out, and don't forget to do your homework too!. STEALHERSTYLE.NET Do you ever find yourself wondering where the heck celebrities get certain pieces in their wardrobes? I wonder the same thing, and for many years I would either keep an eye out for similar pieces when I hit the mall, or I would simply call it a lost cause. This all changed, however, when I stumbled upon a little website called stealherstyle.net. The website takes stylish photos of A-list celebrities and breaks down each element from their looks, detailing both the price of each item and the store from which each item originated. Feeling a little more edgy? The site also profiles different celeb hairstyles and tattoos, so if you're interested in changing up you're look or simply looking - then check it out for some of the best secrets for celebrity style. LOOKBOOK.NU If you're interested in fashion, photography, business, or blogging, then lookbook.nu is the website for you. LB is, in layman's terms, one huge fashion photo blogging database. Like any other social media website, on LB users can create an account and connect with other individuals worldwide. The site attracts people from all walks of the fashion world and encourages them to take photos of interesting looks that they find or create. As a result, they develop an online collection of their own looks to share with the rest of the world. So what's the catch? Well, LB prides itself on exposing the world to high-quality imagery from the most passionate fashion-goers. Therefore, if you're interested in taking photos for your own account, then your photos can only be taken with a high-quality camera. Additionally, the site only allows for one photo upload every few hours. The rules seem a little annoying upon first consideration, but the result is a crazy cool website with some of the edgiest looks from all over the world. Plus, because of the website's high quality, top brand names like American Apparel, H&M, and Dr. Marten's have teamed up with LB to allow bloggers to come up with styles for the brands clothes. Not interested in taking photos? That's cool! Creating an account is easy, uploading photos is optional, and you gain the ability to "hype" your favorite looks, "fan" your favorite lookbookers. You can then refer back to your choices whenever you need some fashion inspiration! iPhone, iPod and iPad app available. WEHEARTIT.COM Are you one to scroll through pictures on Iinstagram only to find yourself thoroughly disappointed when you come across pictures that you've already seen? Well get ready for the procrastination goldmine. Weheartit.com is a never-ending database of photos of all types. Want a little bit of everything? Go to the site's home page and scroll away. Every day users all over the world post thousands of new photos so you'll never get bored. Or, if you're interested in finding something more specific, type a word or phrase into the search box and you'll find an endless number of results matching your request. Like lookbook, if you're interested in keeping track of photos that you like or posting your own, then signing up for an account is easy and free. In minutes, you'll have infinite "hearting" privileges, and like "hyping" or "liking" you'll be able to spread the fashion love while also storing images that inspire you. iPhone, iPod and iPad app available.

Glee club fall concert

As their first Fall Concert of the year approaches, members of Notre Dame's Glee Club stay calm, cool and collected, as usual. Through all their intense rehearsals and spontaneous performances around campus, these guys never lose their smiles and excitement. Brian Scully, this year's Glee Club treasurer, described the club's hectic schedule. "Glee Club is entering one of its busiest seasons right now," Scully said. "Our fall concert this Friday is only one in a long list of events for us. In the last week alone we've also sung for the residents of Holy Cross Village, at a wedding in the Basilica, at Baraka Bouts, and had a master class with the King's Singers, a world-renowned men's chorus." In addition, Christmas is right around the corner, meaning nonstop Christmas caroling around campus for the Glee Club. Although this sounds like a strenuous schedule, club president John Kemnetz stressed the positivity of the club. "Usually the intensity level goes way up in our rehearsals leading up to a concert," Kemnetz said. "Focus is important and oftentimes our rehearsals will run longer, but we don't mind. We love to sing for crowds at Notre Dame and have fun doing so - we're less about stress and anxiety and more about having a good time and making sure our audience does the same." Even when not preparing for a specific concert, the Glee Club has a demanding rehearsal schedule, but according to Scully they love this time spent together. "Glee Club has rehearsal Monday through Thursday for about an hour and 15 minutes," Scully said. "We also have some added open rehearsals on the Fridays of game weekends. Glee club definitely keeps you busy, but it's time spent doing something you love with one of the tightest and most caring social groups on campus. It's hard to beat that." This Friday's fall concert is structured around various genres of music and features songs from the club's new album. "Our concerts are usually separated into two halves -- what we like to call the 'serious half', during which we perform more classical, liturgical, and modern choral music, and the 'fun half', during which we get to sing some more light stuff including African American spirituals, folk songs, and barbershop numbers," Kemnetz said. "One unique feature of this concert is that many of the pieces we will perform are a part of our newest album, Rocky Road to Dublin, released in August. Music themes range from the horrors of war to Marian devotion to drunken revelry, so there's really something for all of us to relate to." As Friday draws closer and closer, Glee Club sophomore Joey Copp expresses nothing but positivity and excitement. "I expect a really good show, we've all put in a lot of hard work, especially [our director] Dan [Stowe], and I expect a great audience," Copp said. "We've sold out the main house and we think it'll be a real treat for everyone who can make it." Kemnetz keeps up the same enthusiasm, urging students to come even if just to see what the hype is all about. "We're Notre Dame's oldest and most well known choir, but more than that we present music that is accessible and fun to listen to," Kemnetz said. "If you're a Notre Dame student who has never been to a choral concert at Notre Dame, then this is the concert you won't want to miss." Contact Maddie Daly at mdaly6@nd.edu