Last updateMon, 18 Jan 2021 7pm


Creative Expression at the University

Some people have called the Uni­versity a “suitcase” school. While there are few things funnier than a hawk in a suit, some Hawks want more than a briefcase- they want a portfolio to put inside it.

The University offers a wide array of minors that can get you involved with artistic expression. If you don’t consider yourself to be creative, there’s no better time to learn. Be­sides, sometimes a unique minor is just what you need to earn that cov­eted internship.

One beloved minor is creative writing, which is only 18 credits. This teaches the differences of style involved with various forms of com­position. It shows that you know how to reach your audience.

Another such minor is a classic: art. This curriculum teaches basic de­sign and drawing skills. In addition, you’ll engage in art history courses, giving you some background knowl­edge on things that other people have painted. Start planning early if you want to take it, because this is a 27 credit program.

Do you like art but dislike work­ing with your hands? In that case, the graphic design/computer graphics minor may be right for you, and it’s only 15 credits. This teaches the art of computer animation and design.

The 15 credit photography minor is another choice for anyone who wants to really bring a picture to life (and for those who want to show off their fancy college education at the next family reunion).

“Because photography is so ubiq­uitous in our lives, a photo minor pairs well with most MU majors from communications to real estate as it is a skill that can be readily ap­plied to a profession or enjoyed for its creative outlet.” Anne Massoni, spe­cialist professor of photography, said.

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This Movie Might Throw You for a Loop

entertainment-looperJoseph Gordon Levitt and Bruce Willis both star as Joe Simmons, a hit man, or more appropriately, a Looper, in the movie Looper. Sim­mons executes former agents of the mob from the future year of 2074 so that there is no body, and more im­portantly, no evidence in their own time. Time travel is illegal in the future, but like our present, the mob has their ways around the law.

When the mob decides to termi­nate a Looper’s employment, they send the Looper’s future self back to Joe’s present year, 2044, to be executed, along with enough gold for the Looper to live out the rest of their days, until they are sent back to the past. Most targets arrive masked, but when one shows up late and without the usual covering, Joe realizes he’s been told to execute his future self. He hesitates, allow­ing his future self to get away and putting his current life on the line. He must eliminate his future self but also dodge other agents who are sent to eliminate both Joes.

Along with the two Joes, there’s also Sara (Emily Blunt), her son Cid (Pierce Gagnon), and Kid Blue (Noah Segan), another agent and Joe’s rival for the affections of their father figure, Abe (Jeff Daniels) who was sent by the mob from the future to help begin the Looper organiza­tion, and gave Joe a reason for liv­ing.

Confusing? So is the movie. But if you follow the plot and listen care­fully, you’ll walk away quite satisfied by the tale of this hit man, although you’ll probably guess the ending coming from a mile away. The film is directed and written by Rian Johnson (Brick, The Brothers Bloom) who gives us an above-average action film for those who like movies that make them think. The main character is more prone to reaction than action; this is an interesting idea, and thanks to Levitt’s performance, an idea that is pulled off without shortchanging young Joe’s character.

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Student Spotlight: Natalie Zeller

The Outlook recently had the privi­lege of speaking with Natalie Zeller, freshman music industry major, who performed at the Rock and Register event on September 28. Zeller is a singer, guitar player and songwriter who has performed both on and off campus, including at Hofstra Univer­sity.

Her musical style tends to be what­ever she feels like playing, so audi­ence members can expect to be treat­ed to a wide array of songs. Some of them are very upbeat and lively while others are more sentimental and ro­mantic; she admitted that the slower songs occasionally remind her of Taylor Swift, though she typically dislikes “girly-girl” songs. She’s also done several impressive covers of more widely-known songs, such as “Jar of Hearts” by Christina Perry and “Super Bass” by Nicki Minaj.

To the delight of the crowd, she performed her cover of “Super Bass” at the Rock and Register, earning a huge round of applause. She also per­formed a few original songs such as “Keep it Simple,” a heart-felt number about not making a relationship over­complicated.

Zeller said she did not specifically plan what songs she would play at Friday’s event, though she did plan to start fast in order to get everyone excited and segway into more varied, emotional songs. Her musical talent, as well as her charismatic stage pres­ence, served as a great start to Rock and Register.

Zeller indicated that she is a solo artist, but she’s collaborated with friends before and is open to work­ing with others in the future. She went on to indicate that, in addition to her great singing and acoustic gui­tar playing abilities, she can play the electric guitar, as well as some piano and clarinet.

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Be Wary of the House

entertainment-house-at-the-end-of-the-streetYou move from your home­town to a small community only to find out the previous owners of the House at the End of the Street were brutally murdered by their own daughter, Carrie Anne (Eva Link). The family’s name is whispered by the lo­cals, while others snap that the house should be burned down. Yet one survivor, a young man named Ryan (Max Thieriot), lives within it, trying to make his way, alone, through a world that hates the ground he walks on because of what his sister has done.

Or so you think. It is soon revealed that Ryan has locked Carrie Anne away in the base­ment, since, contrary to popular belief, she did not perish in the woods after killing her parents. Much of the action is centered on his attempts to restrain and control her, especially when El­lisa is near.

Before I continue, let me clar­ify something: Contrary to what the trailers imply, this is NOT a ghost movie. At all. Though several people die, no one, at any point, comes back from be­yond the grave. Many reviews on this movie have been unfair­ly biased by the notion that this film should’ve had ghosts.

House at the End of the Street was a well-crafted psychologi­cal thriller about Ellisa (Jenni­fer Lawrence), who moves from Chicago to a small, unnamed town with her mother, Sarah (Elizabeth Shue), only to be­friend the wounded and scared-looking young man who lives in the house where his family perished.

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Visiting Writer: Professor Josh Emmons

entertainment-visiting-writerProfessor Josh Emmons com­menced the Visiting Writer series last Wednesday in Wilson Hall Au­ditorium. Dean of Humanities and Social Sciences, Dr. Stanton Green, senior Jennifer van Alstyne and As­sistant Dean Michael Thomas in­troduced Emmons with nothing but positivity and praise.

Dr. Staton Green began his in­troduction by reminding members of the audience that, “most of the things we enjoy are due to good writing” and how important the ele­ment of writing has become at the University.

“Part of the tradition of the Vis­iting Writers series is to start with someone connected to Monmouth,” explained Thomas. Emmons was initially hired to develop the cre­ative writing program at the Univer­sity and because he was nationally recognized as an author, Emmons was asked to be the first speaker of the year.

Emmons’ second novel, Pre­scription for a Superior Existence, proved to be a hot topic for introduc­tion.

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The Killers Miss Their Target on New Album

The popular rock band known as The Killers released a new album after nearly two years of being on hiatus. The band consists of Brandon Flowers (lead vocals), Dave Keuning (lead guitar), Ronnie Vannucci Jr. (drums) and Mark Stoermer (bass guitar).

Their beginnings date back to 2002 when they started to record in Las Vegas, Nevada.

After their surprising hit, “Day & Age,” each member de­cided to try their shots at solo careers but no one’s took off as well as they had hoped. Lead singer, Brandon Flowers, had the best solo career with his al­bum “Flamingo” but not nearly as much success as the band ac­quires together.

After taking a year and a half break, the band reunited and re­leased their most current album, “Battle Born.” The band chose “Runaways” as their first single.

While many may believe this was the right song to release as the single, a better decision would have been the title track “Battle Born.” “Runaways” does not highlight their deep lyrics or the way they mix music as much as “Battle Born” does.

Unlike their other albums, The Killers seem to be adapting to the music around them instead of creating their own original sound. This can especially be heard in their first track, “Flesh and Bone,” which sounds like it was inspired by up and coming techno music.

Another song that sounds like it should be as a mainstream hit from a California band instead of The Killers is “The Rising Tide.” The lyrics and music in this song are very bland.

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The Generation Without a Voice

entertainment-gen-silentFor generations, the subject of ho­mosexuality has been one of the most dismissed and controversial subjects that people talk about. Some have looked down on homosexual men and women, while others pay no mind and accept them for who they are. Many are neutral on the subject, saying that it’s a matter for those in­dividuals to decide.

Stu Maddux, director of Gen Si­lent, has directed two other docu­mentaries on adults living alterna­tive lifestyles. He is an outspoken lesbian, gay bisexual and transexual (LGBT) rights activist and has led discussions in conferences across the nation, including those run by the American Psychological Asso­ciation.

Gen Silent follows seven individu­als, all of them in same sex relation­ships, and all of them in their fifties and above. Not only are they dis­criminated by people in general, they have problems that inevitably occur with the coming of old age. These situations clash when anti-LGBT mentalities prevent them from re­ceiving the proper end-of-life care that they deserve.

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Grizzly Bear Shines with "Shields"

The first line uttered on “Shields,” the latest album from indie rock champions Grizzly Bear, goes, “Dreamed a long day, just wandering free.” This line, out by Daniel Rossen on the thunderous “Sleeping Ute,” is not just a retelling of some half-remembered daydream, but is in fact a revealing descriptor of the album itself.

With its brooding sense of atmosphere, patience in song delivery, and weird, often jar­ring details, the music found on “Shields” resembles something of a lucid dream, where the lis­tener has full power to explore every inch of terrain dreamed up. This album comes with plenty of territory to explore.

Since forming in 2002, Griz­zly Bear has become revered for creating some of the most visceral and unique music in the world of indie rock, with incredible albums like the lush, expansive “Yellow House” and the more focused, baroque pop-oriented “Veckatimest” pushing the boundaries of rock, pop, and folk far beyond their limita­tions.

Though “Shields” isn’t a huge departure from the group’s al­ready unique sound, the album instead finds a perfect midpoint between their last two releases to create a highly expansive yet beautifully intimate rock record that manages to create fully re­alized worlds as you listen, with each track enticing you to ex­plore further and further.

The vast, organic environ­ments conjured by Grizzly Bear on “Shields” are largely due to the overall natural sound pre­sented on the album.

While past releases were heavy on orchestral flour­ishes and studio manipulations, “Shields” presents the group at their rawest and most primi­tive, with each song being cen­tered chiefly on the might of the group’s core elements. These el­ements include the jagged guitar lines, the haunting piano melo­dies, and a rhythm section that is breezy and gentle one minute, yet explosive the next.

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The Expendables Are Anything But

It’s September, which means saying goodbye to summer. Be­fore you do, I suggest watching the last great flick of the summer, The Expendables 2.

Barney Ross (Sylvester Stal­lone), along with his right-hand man Lee Christmas (Jason Sta­tham) and the rest of his crew: Yin Yang (Jet Li), Gunner Jenson (Dolph Lundgren), Hale Caesar (Terry Crews), and Toll Road (Randy Couture) along with new member Billy the Kid (Liam Hemsworth), are forced by Mr. Church (Bruce Willis) to find an item of incredible importance to the CIA. The government also forces them to bring along Mag­gie Chen (Yu Nan), an expert on the safe the item is being held in.

When they retrieve the con­tents of the safe they are am­bushed by an­other group of criminals led by Jean Vilain ( Jean - Claude Van Damme) who steals the item and kills one of the group members. With retrieving the item as an afterthought, Mag­gie tags along and leads them to where she believes Vilain is hid­ing so they can take revenge for the death of their brother and blow plenty of stuff up along the way.

During their self-appointed mission, they’ll also team up with fellow mercenary Trench (Arnold Schwarzenegger) and Booker (Chuck Norris) and, like Marvel’s The Avengers, everyone man­ages to have plenty of screen time without being shortchanged.

Some people complain that ac­tion films such as this are just hol­lowed out popcorn films without any heart, made to satisfy testos­terone filled manly-men who just want to see things blow up, the bad guy get what’s coming to him during a spectacular final battle, and the muscular hero get the hot damsel in distress at the end. This is not that kind of film.

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Imagine Dragons Lacks Imagination

Imagine Dragons’ highly an­ticipated debut album, “Night Vi­sions,” came out last Tuesday. The band released their most recent EP last winter, which included the hit track “It’s Time.” It seems like the band rushed the studio process when “It’s Time” started gaining momentum last spring. They have about half of a really great album.

The Las Vegas-based rockers have a lot of different influences on the LP. The electronic ele­ment is really obvious on many of the tracks, but that doesn’t mean “Night Visions” is a dubstep production by any means. This band takes inspiration from many types of music, from hip-hop to folk. It’s clearly indie rock, but this band isn’t afraid to mix their genres.

The album opens with “Radio­active,” in which frontman Dan Reynolds sings “Welcome to the new age,” which is a fitting in­troduction to the disc with a very epic feel (it sounds like it should be in a Michael Bay film trailer). Their sound is different, and so are their ideas.

Rock music has a tendency to be dark. Anger, frustration and heartbreak have inspired some of the best rock recordings. Imag­ine Dragons wanted to derive an album from their depression, but they didn’t want to wallow in their darkness. They aimed to have an uplifting album about overcom­ing the hard times and they some­what succeeded.

“Tiptoe” is also a good song, though the intro sounds eerily similar to the opening bass line of Kelly Clarkson’s “Stronger.” However, it was sort of unneces­sary. The lyrics make it sound like a build up to a battle, which is the same thing the first track does.

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The Art of Being an Artist

entertainment-satchmoA modern “renaissance man” by the name of Steven Brower came to our humble campus on Thursday, September 13.
Dozens of people- including members of Marywood University, where Brower teaches Graphic De­sign- gathered in the Wilson Audi­torium to hear his lecture, “Influ­ence, Parody and Process.”
Luis Flores-Portero, lecturer of foreign language studies, came because Brower’s art resonated with him. “I was attracted to this talk by the quality of the flyer in the email,” says Flores-Portero. “I like Louis Armstrong and wanted to know more about the man who designed it.”
In addition to serving as head of the graduate graphic design program, Brower has worked with Print magazine and was the art di­rector for the New York Times and The Nation. He also has work stored among the permanent collection at the Smithsonian Museum.
Brower began the lecture by dis­cussing his inspirational origins, such as the comedy and style of Groucho Marx. He said the man’s humor was “so sardonic and irrev­erent” that he couldn’t help but love the comedy style. A notable portion of Brower’s work, especially his earlier work, features references to Marx.

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Contact Information

The Outlook
Jules L. Plangere Jr. Center for Communication
and Instructional Technology (CCIT)
Room 260, 2nd floor

The Outlook
Monmouth University
400 Cedar Ave, West Long Branch, New Jersey

Phone: (732) 571-3481 | Fax: (732) 263-5151