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Saturday, April 4, 2026
The Observer

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The Observer

Jack White goes solo on 'Blunderbuss'

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Yes, this is the Jack White (born John Anthony Gillis) - Jack White of the White Stripes, the Raconteurs, the Dead Weather and about two dozen other collaborations. While technically his debut solo album, White's music has been a part of the public consciousness for over a decade, at least since that animated video for "Fell in Love with a Girl" starring Lego figures in 2001. This is also, perhaps more importantly, the first piece of music we've heard from White since he and sister/wife/ex-wife (depending on whose story you believe) Meg White, whose surname he now bears, dissolved the White Stripes a little over a year ago. The thirteen songs that comprise "Blunderbuss" came out of recording sessions with various guest and session musicians in late 2011 in his Nashville studio. According to Rolling Stone, White said in a statement that the record is "an album I couldn't have released until now. I've put off making records under my own name for a long time but these songs feel like they could only be presented under my name. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas." While Jack has also said that Meg White "completely controlled the White Stripes," he wrote and composed all of their songs; so naturally, the obvious starting point when talking about "Blunderbuss" is the White Stripes' music. As far as the sound of this record goes, it probably sounds the most like "Get Behind Me Satan," the band's second-to-last album which featured rock radio hit "My Doorbell." The keys, the guitar sound on most songs, the tinkling bells in the background - all of these things recall "Get Behind Me Satan." The new album's first single, "Love Interruption" is especially reminiscent of that record. However, some tracks, such as second single "Sixteen Saltines" - also the album's high point - or "I'm Shakin'," sound more like the thrashing garage rock of the Stripes' second album "De Stijl," or the Raconteurs' debut. This kind of back-and-forth between tracks with lush, sometimes acoustic instrumentation and straightforward riff-driven blues or garage rock is typical of White's style in recent years. His signature guitar sound is unmistakable, but at times he gives the listener a break from it. This only makes it all the more thunderous when he returns to it, such as on the aforementioned "I'm Shakin'" halfway through the record. "Blunderbuss," for the most part, sounds great. White's voice has never sounded better, the arrangements are peerless, and when he does cut loose like on "Sixteen Saltines," it's very difficult to sit still when listening. White's lyrics on this record focus primarily on love lost, and the utter confusion that follows from it. Opener "Missing Pieces" sums it up perfectly: "Sometimes someone controls everything about you / And when they tell you that they just can't live without you / They ain't lyin', they'll take pieces of you." On first single "Love Interruption," he sings, "I want love to: / change my friends to enemies, / change my friends to enemies, / and show me how it's all my fault." This kind of morose introspection is everywhere on the album, more often than not in juxtaposition with the album's bouncy, often sunny arrangements. Usually it works, and on the few occasions when it doesn't, such as on closer "Take Me with You When You Go" - which feels more like a cut-and-paste collage of three different songs than one coherent one - it's still a lot of fun. Elsewhere, on "Freedom at 21," he explores "freedom in the 21st century," describing a character who has "Two black gadgets in her hands / All she thinks about / No responsibility no guilt or morals / Cloud her judgment," before erupting into one of his now-famous squelching, cry-out-to-the-heavens guitar solos. "Blunderbuss," if nothing else, serves as a closing statement on the White Stripes era of White's musical career, as well as a closing statement on the confusing relationship (whether romantic, familial or otherwise) with his ex-White Stripes band mate. To that end, it accomplishes its purpose masterfully. With "Blunderbuss," Jack White has created a record that first of all sounds really, really good; secondly, is a ton of fun to listen to and third, has the ability to make the listener stop and think on repeated listen. It is not a high water mark of his career - in other words, he has created better pieces of music in the past, and probably will again in the future. Any fan of White's previous work is sure to enjoy this record, even if they don't count it among their favorites in his expansive catalog. White will be doing a lot of touring in the coming year, including two shows at Lollapalooza in Chicago this fall. Check out his complete touring schedule at http://jackwhiteiii.com/tour-dates/


The Observer

Notre Dame Opera chills with 'Sweeney Todd'

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This past weekend, the Music Department and the Notre Dame Opera joined forces to put on a production of "Sweeney Todd: The Demon Barber of Fleet Street." Although not an opera, this show is a challenging and thought-provoking piece of musical drama that pushes audiences past traditional comfort zones. For those who don't know the show, it tells the tale of a barber named Benjamin Barker. After the local judge lusts after his wife and deports him far away for a crime he didn't commit, Barker finally returns to civilization as Sweeney Todd, bent on seeking his revenge. As he waits and conspires ways to kill the judge, he ends up killing multitudes of others, deciding everybody deserves to die because "the lives of the wicked should be made brief; for the rest of us, death will be a relief." This musical is neither focused on love nor tap dancing. The feelings onstage are dark throughout, angry, and even murderous -- a fact creator Stephen Sondheim addresses with bits of humor and even a bit of a twisted love story. It's hard to put it any other way when Sweeney Todd enters into a somewhat romantic relationship with one ditzy London widow named Mrs. Lovett, who makes and sells "the worst meat pies" in the British capital. Audiences watch in horror as Mrs. Lovett's meat pies become the best and most popular around, thanks to the abundance of extremely fresh meat Sweeney Todd accumulates in his barber shop. The story is full of suspense and plot twists, and no shortage of spilled blood - hopefully of the fake stage variety. As Sweeney focuses on the ongoing plot to kill the judge when he comes in for a shave, he gets caught up in the dementia first of his progress and then of his postponed success in the only mission that really matters to him. Todd grows even angrier as his proto-serial killer personality starts to come apart at the seams. As they say: you always hurt the ones you love. The Music Department and Opera made a gutsy choice in this show. It is a difficult piece in terms of subtext and general dark themes, many of which interact and interplay in ways that are hard to grasp. It is never certain how a show like this - far removed from what's normally considered "entertainment" - will be received. However, Notre Dame has done justice to the piece, adhering to Sondheim's conditions and adding its own innovative flares. For instance, in the song "A Little Priest" - which discusses the types of people they can bake into pies because "everybody shaves" - the company performers come onto the stage dressed as recognizable character types and join the rest of the future pie fillings in a background dance. Although this innovative addition to the style of the show added a comedic break from the darkness and tension, it distracted from the heart of the piece that comes from the playd on words that keep coming line after line. Filled with such gems as "This might be a little bit stringy, but then, of course, it's fiddle player!" and "We'll serve anyone - and to anyone - at all," this is definitely a time when the strength of the scene lies within the lyrics. Sondheim has been a master of literate, unexpected lyrics show after show since his earliest lyricism penning the words to "West Side Story." In any Sondheim musical, song lyrics are not something you want to lose to attentions focused elsewhere. Another significant change made by this production was to have Sweeney kill himself at the end -- as opposed to having the young boy Toby kill him. This is likely intended to show how desperate Sweeney Todd is and perhaps has been through the whole show. After seeing how his revenge-seeking behavior and grotesque destruction of his own humanity has killed the person he cared about most and for whom he went through this ordeal, he despises himself and meets his end the same way his victims did - slitting his own throat. This was a powerful moment in the show, with the audience left both to watch as Sweeney's madness literally kills him and to contemplate their own vendettas and how they could be affecting both themselves and those around them. Anthony (Mike Clark) really stood out as a powerhouse. Clark's voice was clear and strong, and fit well with Anthony's character. The actors playing Sweeney Todd (alternately Zach Angus and Sean McGee), however, have the biggest challenge. Not only is the character the most complex and demented in the show, but also, with predecessors like Len Cariou in the original Broadway cast and Johnny Depp in the movie version, they have a lot to live up to. Taking into account that Angus (Sweeney in the performance I attended) is not an actor with 30-plus years of experience, he fit the shoes of his predecessors well, and did justice to the role. The orchestra for the show did a fantastic job handling Sondheim's chilling and breathtakingly beautiful music; the composer is famous for writing rather difficult pieces for musicians to play. The real power of this show comes from the music: the swift changes in mood, the suspenseful dissonant chords, the rising crescendos and the eerie combinations of notes. In this sense, thanks to the orchestra, the intent of "Sweeney Todd" as off-kilter musical drama was heard loud and clear. Overall, I hope Notre Dame continues to make gutsy choices such as this: shows that are thought-provoking and deep are great for students to broaden their minds and consider possibilities previously not considered. Open minds and greater cultural literacy should be goals for every Notre Dame student, and this weekend, the Music Department and Opera brought them one step closer. Contact Tessa Demers at tdemers@nd.edu  




The Observer

Notre Dame Style Spotter

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Name: Priscilla Nyankson Spotted: Grace Hall Priscilla definitely knows how to combine classic red, white and blue items, creating a chic ensemble for the day. Her white pencil skirt and stripped navy blue shirt look great paired with a skinny bright red belt. Her brown booties perfectly complete the outfit. Priscilla looks cool, trendy and ready to take on these last few weeks of school in style.  


The Observer

Margin Call Walks Through Wall Street

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In 2011, a drama finally attempted to address the convoluted back woods of the finance industry that caused the economic crisis in 2008. More relevant than ever, the sharp and shrewd "Margin Call" cuts like a scalpel into an often ethically opaque industry few Americans are privy to but are all affected by. Unfortunately, most people missed "Margin Call" and with it, a genuinely fair but decidedly uncompassionate look into an uncompassionate industry. This could be due to the film lacking a real leading star or perhaps its "too close to home" subject matter; but for whatever reason, it is one of the year's most overlooked films. "Margin Call" remains overlooked despite being nominated for an Oscar for best screenplay. Since 2008 it has become popular to demonize Wall-Streeters. Seeing them as nothing but conniving and money-hungry, we are quick to direct our anger towards them. People protest in the streets, seeking restitution from the individuals that managed, gambled and eventually lost their money. Luckily, "Margin Call" is not a battle cry attempting to galvanize such a movement. Instead it humanizes the events of 2008 so many of us hear about but so little of us truly understand. The film takes place over the course of day, as a firm realizes that their holdings of mortgage-backed securities are about to go sour. The bottom is about to drop out of the subprime market and in approximately 24 hours the company will be of no value. The company decides to get out of the market, salvaging what they can while selling their worthless assets to uninformed buyers. The crisis is first discovered by an analyst on the bottom of the financial totem pole. Over the course of the film, we watch as this piece of information moves its way up to the top and leaves destruction in its wake. The script, by writer/director J.C  Chandor, is an original written with a truncated eloquence. His father, a former employee at Merrill Lynch, gives Chandor a background to intelligently write about the subject. The dialogue, quick and constant, fascinates the viewer. Its meticulous word choice allows the average non-Wall Street insider a lucid window in without compromising the film's authenticity. For the characters, every conversation is a chess match, and it's a business deal. The characters enter into a precarious juggling act in which participants must completely protect their interests while practicing rabid opportunism. Luckily, the cast in "Margin Call" is stacked with talent. It's an ensemble with the ability to take such an impressive creation off the page and run with it. Jeremy Irons, Kevin Spacey, Demi Moore and Paul Bettany are all present, giving performances that are all busting with restrained energy. Jeremy Irons shines slightly brighter than most, playing the firm's duplicitous CEO. His scenes are an immense pleasure to watch as he orchestrates his character's pragmatism and hubris brilliantly. Like Jeremy Irons, those at the top rarely get hurt when it hits the fan. Their position often protects their incompetence, and as we see in "Margin Call," it is almost always their professional inferiors that are sacrificed and the public that suffers. People have growing disdain for the "one percent" who often feel their stature and affluence elevates their value over others. However, "Margin Call" neither disputes nor proves these sentiments. It is not here to play the blame game or be any sort of arbiter of people's characters. The system and the story is what Chandor keeps the spotlight on - and both are replete with intrigue.  


The Observer

Vanessa Carlton Comes to Notre Dame

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She's making her way downtown, walking fast while the faces pass on Saturday night. So stop holding onto your secrets in white houses and head to Legends for what promises to be a fun and nostalgic Vanessa Carlton performance. The 31-year-old singer and songwriter may have disappeared from the mainstream in recent years, but her tunes are still staples at both dorm and off-campus parties alike. You would think her whimsical piano ballads draw primarily female audiences, but the number of Notre Dame men who can proudly belt out "White Houses" is astounding. Carlton's career took off as a young girl, first in the world of ballet and then in front of the microphone. She attended Columbia University, was a waitress in Hell's Kitchen and performed in bars and clubs in Manhattan while still a college kid. And we Domers thought we were overachievers. Her 2002 Grammy-nominated debut album "Be Not Nobody" went platinum and featured Carlton's first hit single "A Thousand Miles." Both "Ordinary Day" and "Pretty Baby" also came from the successful release and set Carlton's career on a promising path. "Be Not Nobody's" follow-up record "Harmonium" debuted in 2004 and brought with it a powerful tune about losing one's innocence. "White Houses," the first single off the album, became somewhat of a cult classic. Co-written by Stephan Jenkins, the lead singer of Third Eye Blind, it took off amongst teens but didn't fare as well in the mainstream. In fact, MTV censored it for its controversial lyrics about losing one's virginity - yes, you read that right. MTV censored a piano ballad for its non-descript lyrics about sex. The ties between Carlton and Third Eye Blind didn't end there. The singer opened for the band on tour and dated Jenkins for four years, according to Slate Magazine. Coincidence that Notre Dame brought both to campus this year? Probably. Carlton's recent hit, 2007's "Nolita Fairytale" off the album "Heroes & Thieves," harkens back to her past successes and challenges, depicting a singer who has matured. The lyrics speak to conquering tough times, living a real life and finding the fairytale within. These days, Carlton is promoting her 2011 album "Rabbits on the Run." She also performed with Gavin DeGraw earlier this month at the third annual Origins Rocks Earth Month Concert to promote environmental awareness. As the cherry atop AnTostal's event-filled sundae, Carlton's concert is sure to bring in a mass of devoted fans. And to make the draw even more enticing, Hip-Hop Night will follow the show, hosted by DJ 3J and senior Eugene Staples. Seniors, remember those underage days when Legends was as hip as our hop got on a Saturday night? Let's bring it back, just one last time. On a cloudy day, it's more common than you think to head to Legends for a little nostalgia and a lot of fun. Reminisce with Carlton about all the journeys we've been through and anticipate the learning still to come.  


The Observer

Scene Top Five: Baseball Movies

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It's the most wonderful time of the year. The smell of pine tar and freshly landscaped grass is in the air. The Yankees just purchased a small country in order to secure the rights to a single prospect. My Kansas City Royals have already decided that they'll be darned if the future is going to be this year. It's baseball season, a six-month-long Christmas season for all fans of the country's pastime.


The Observer

Hoodie Stays Strong in Sophomore Effort

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In an interview the night before the release of his new EP "All American," rapper Hoodie Allen promised to personally call every fan that purchased the album in its entirety.


The Observer

TV Rewind

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As part of AnTostal 2012, the Student Union Board will sponsor a screening of five favorite '90s Nicktoons tonight at 8 p.m. The Third Eye Blind concert and the continuing popularity of Fruit Roll-Ups as a topic of conversation prove that Notre Dame students still love the '90s, and Nickelodeon's cartoons remain one of the best parts of the decade.


The Observer

Style With Sean

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Last week I donated my hair to Pantene's Beautiful Lengths so tone lucky cancer patient will someday be able to have a full head of red hair. Going from 8.5 inches to basically 0 is not only scary, but hard to get used to. However, I can already tell the difference. Based on my experience, here are the pros and cons of long hair vs. a shaved head.




The Observer

Moving Up Living Down: Sing-Along Songs

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Three years ago California singer-songwriter Eric Hutchinson charmed the Notre Dame Community at the B1 Block Party with tunes from his debut album "Sounds Like This." His latest full-length effort, "Moving Up Living Down," brings the same quirky, catchy California sunshine to a charming sophomore album.