Another interesting moment from the reunion (Episode 18) is basically a back-and-forth between Jason and Estuardo that escalated rather quickly. This would’ve been before Tidal Wave Round 3.

 

Host of the reunion Ross Matthews reads a viewer response that says, “I get it Jason, you wanna be taken seriously because as a kid, you were ignored or picked on so you made yourself hot and dangerous in high school. But you’re an adult now, and you can’t keep blaming everyone else for your behavior. Grow up.” You can see in Jason’s face that the viewer response stung him real bad. But as always, Jason has to be the tough one. Vulnerability is not an option.

 

Ross asks Jason what kind of bullying he went through, and Jason says, “Before changing my image, I was always dressed proper and nerdy, so other kids would pick on me and call me a nerd or a faggot. And it was after I beat a varsity jock’s ass in high school that I was ready to change my look immediately. And I never looked—”

 

And Estuardo cuts him off, leading to him and Jason talking over each other. It was so hard understanding what each person was saying because it was a lot of overtalk. But thankfully, I was finally able to make out what each person was saying. So I’ll go one at a time, and talk about what each person was saying starting with Estuardo and then Jason.

 

So, when Estuardo cuts him off, he says, “And now, you’re the bully. Now you’re bullying other people. The very people who actually believed in your dirty stinky ass. I do have a backbone. I’m a lot of things, but someone without a backbone is not one of them. No, I didn’t! You called me to rant about your husband. You did! And you called me every single day asking me why I was loyal to you. Do you have any idea how that made me feel when you asked me that?”

 

Okay, and at the same time, Jason is saying, “—back. Hey, excuse me bitch, I’m talking. No, I’m not a bully. You’re the one who wanna talk about people behind their backs. I said to your face that you don’t have a backbone. Okay? You wanted to rant about my man, and I don’t know why. You’re always scared to show the real you. Bitch, that is not true! I was asking why I was loyal to YOU! [points to Estuardo]”

 

Estuardo points back to Jason and says, “YOU are the devil, Jason. You cannot sit here and say that I don’t have a backbone when your own husband doesn’t have one when it comes to you.” That accusation makes Rafa gasp and Enrique go “Whew…” Jason says, “Oh okay, and what are you doing besides wishing you could suck my dick?” which makes Alex P cover his face while David is shaking his head trying not to laugh and Alastair is lightly holding his head with both hands in frustration and exhaustion. In response to Jason’s “suck my dick” insult, Estuardo says, “You know what? That’s the problem I have with you, Jason: you are constantly hitting below the belt when someone tells you the truth about yourself.” Ross tries to calm the two down when he says, “Okay, okay.” But Estuardo is not listening and says, “Shit. Dressed like a damn preppy Zack Morris. That’s why I don’t fuck with you, bitch. And I never will.”

 

And Ross says, “Okay, let’s all take a break and we’ll regroup.”

 

You can just see Alex P, Enrique, Rafa, David, and Alastair looking very uncomfortable on their seats.

 

Also, I’m not saying that Estuardo has no right to stand up for himself. But he must have selective amnesia because he’s being hypocritical. Estuardo, dude, you parroted Jason, called Rafa worthless, provoked Christian, harassed Alastair to the point where Alastair was going to kick your ass. Bottom line: you are NOT innocent!

 

Back in Episode 4, after Jason and Christian headed back to their house after leaving Enrique’s mixer, you can just feel the tension. Jason is kind of giving Christian the cold shoulder. While unedited footage proved to Jason that Rafa and Christian were indeed not flirting or doing/saying anything sneaky behind Jason’s back, Jason still chooses to believe that Rafa is trying to steal Christian.

 

Christian pleads with Jason, “Jason, babe, come on. Please don’t hate me. I don’t know what you want me to say.” And Jason goes, “maybe that you’ll never talk to Rafael again? I mean, to hear from you that you were the one who approached him is so baffling, and Rafael clearly likes to see me suffer.” Suffer? That’s a bit extreme and out of character for Rafa. But okay, Jason, go off.

 

Jason says in his confessional, “For Rafael to say that bullshit about nice guys… haunting, or whatever the fuck he said, I should’ve known that he would try to mess around with my man.” Jason dude, WAKE UP. Rafa is not trying to steal your mam—I MEAN, your HUSBAND.

 

Back in the scene, Jason says, “I bet he told you about what I said about him at last year’s sizzle reel, didn’t he?” Christian is confused by that question and says, “I… we were never talking about you. And I didn’t know that you said anything about him in your sizzle reel.” Oops. Stupid Jason. He looked absolutely shocked, but why? Like, bitch, you literally watched the footage for yourself, and neither your husband nor your mortal enemy spoke of you, AT ALL. And now Jason can’t take back his accusation that Rafa talked about the bus stop situation, or (as a result) the fact that he never told Christian about what was said or done in the sizzle reel.

 

In his confessional, Jason sighs says, “Shit… he really doesn’t know.”

 

Back in the scene, Christian asks him, “What did you say about him?” Jason lets out a frustrated sigh, knowing that he can’t turn back anymore, and says, “So before we filmed the sizzle reel, I was just… taking a walk like a usually do. I left James’ Restaurant and was on my way to the rec center when I saw… [says with disgust] Rafael… sitting in a bus stop, looking like he just come from a fucking farm, reading what appeared to be a therapy pamphlet. And when I finally did the sizzle reel with Enrique and the others, I mocked Rafael’s clothes and seemingly depressed state, and I called him… a sad-looking country kid. I guess he was like 18 or something, I don’t know,” Christian is shocked by this and asks, “What? Jason, why would you do that?! That’s awful.” And Jason’s excuse is, “He just looked so pitiful and clearly poor. And you know how I am; I’m always joking about whoever I wanna talk about.” And Christian asks, “But you don’t know what he may be going through! Did you even know him at the time?”  And Jason says, “No. And I didn’t have to. People like him are not to be trusted.” Christian gives him a suspicious look and asks, “What does that mean?” Jason wants to drop it and says, “Christian… no more questions, please. It’s late.”

 

Christian goes, “But Jason, do you really think that Rafa would come between our marriage?” Jason says, “He already has, Christian. That’s the whole point. He knows that you and I are married, and evidently he doesn’t care if he’s gonna be friends with you, and hate me for having an opinion about him.” Christian asks him an important question: “Do you trust me?” Jason says, “Of course I do. It’s him I don’t trust. Nobody is that nice all the time. Look me in the eye and tell me with confidence that Rafael doesn’t want you.” Christian softly says, “He doesn’t even know me like that. And… after the way you behaved, I don’t even think that he’ll trust me because I’m married to you.” And Jason says, “Well, that says a lot about him,” and walks to their bedroom, leaving Christian alone to slowly shake his head in frustration, and take seat in their living room couch.

 

Jason says in his confessional, “If Christian wants to be friend with my enemy just because they went to high school together, that’s on him. But it doesn’t mean that I have to like it. I’m watching you, Rafael. Don’t fuck with me.”

In Episode 6, Rafa is not present. But while that would have been a major blow due to the majority of the cast being very unlikable, the great thing about Rafa’s absence is that David and Alastair are still heavily present. 

Yes, Alastair has scenes that focus solely on him and his world without any of the other cast members, making his friend-of credit feel like that biggest casting mistake ever (especially when you have Estuardo Alvizures and Alex Paredes,  who give us absolutely nothing). It's almost as if the casting credits themselves were the Season 1 villain. 😭 But hey, if VH1 can do that, so can first-run syndication. 

On a really, REALLY hot day at 12pm, Alastair and his fiancé Zachary are going on a trail in one of the largest parks in Los Angeles O'Melveny Park in Granada Hills. Clearly, he's still not over Zach beating him in their race to the Alfonsos Furniture & Mattress store. And you can tell because he’s speed-walking past Zach in the trail and you can hear Zach go, "Baby, slow down! I'm getting tired!" And Alastair goes, "We're almost done Zachy." 

And finally they reach top of the mountain, with great views of civilization from afar. Alastair yells, "I WIN! I WIN!" For the whole world to hear. Zachary is a few feet behind Alastair, catching his breath, staring at Alastair, and rolling his eyes, sarcastically saying, "Congratulations," while coughing. Lol, poor Zach.

And on a hot day?! You must be out of your mind! 

In his confessional, Alastair tells us, "I just had to win this time. Who knew that by walking instead of running, I move faster?" Back in the scene, Alastair giggles while walking back to Zach to help him walk up to the top. Thank God they got plenty of ice cold water in their canteens. And Alastair goes, "Ain't this a great view, babe?" And a worn-out Zach says, "Oh... yeah... fabulous," which makes Alastair giggle and say, "I'm sorry babe. Don't be mad at me." Zach lets out a laugh while out of breath, and says, "I'll tell you what give me some time to catch my breath, and then you can walk me back down, and I'll forgive you. Deal?" And Alastair gives him a kiss on the lips and says, "Deal." 

In his confessional, Alastair says, "I think when Zach suggested I take the weekend off from work because he saw that I was stressed out and not in the mood, he probably thought that we were just gonna kick it at home and just do nothing. And yeah... I'll do that. But I gotta be on my feet, I'm sorry [laughs]." 

When the two corny lovebirds make it back to the beginning od the trail, Zach says, "YES! Home sweet home! Hallelujah!" Alastair laughs at this and says, "You're ready to get out of here and eat, aren't ya?" And Zachary quickly says, "Hell yeah! But hey, talk about quality time, right? It's never a dull moment with you." And the two kiss and take a walk towards their car. They walk hand in hand with warm smiles on their faces.

They must've forgotten that Alastair's car was parked in an outdoor parking lot, because once they finally make it to the parking lot and get in the car... PAIN, lol. It doesn't help that they were wearing short shorts. Poor lovebirds. 

Zach goes, "OW! OW! Ooh..." And Alastair says, "It certainly didn't take us long to burn up, eh?" And Zach says, "AH! It's fucking hot. My thighs..." which makes both young men laugh. And Alastair goes, "Don't worry babe, when we get home I'll make your thighs get better" and giggles at Zach wincing. Zach says, "I would absolutely love that. I can't believe it; we're Mexican and we can't handle this fuckin' heat!" And Alastair says, "I don't know which is more painfully hot: Texas or California?" Zach says, "Good question." Something tells me that California heat ain't got nothin' on Texas heat. Just ridiculous [chuckles and snorts]." 

Later we see them in a Farmer Boys restaurant in Chatsworth. And as they're dining, Alastair says, "I'm so ready for this heat to die down and we can some rain." Zach says, "Me too. I still can't get over that random thubderstorm we had in July. Never thought I'd jumpy over a thunderclap waking me up, and we grew up in Texas." The two laugh at that random storm and hold each other's hands from across the table. And then Zach asks Alastair, "What's the difference between being in love and being infatuated, in your opinion?" Alastair takes a few seconds to think about that, and eventually he softly says, "I think when someone is infatuated, they don't really see a future with the person they're infatuated with. In my case, however, I see a future with you... because I'm in love with you every day. I... I connect with you in so many ways, that I never connected with any other guy I dated in the past. I wanna spend the rest of my life with you." Zach blushes at Alastair’s answer, and says, "I definitely feel anything but infatuated with you. It's absolutely love. I don't see you as a shiny new toy, if you know what I mean [winks and gets a chuckle from Alastair]. And I hope and pray that what we have together can evolve... and last a lifetime." 

-------------------

Episode 8

 

Season 2 (2024 - 2025)        

 

         

Season 2 sees the return of main cast members Romeo Escobar (KTLA), Chris Holmstrom (KCAL), Carlos Saucedo (KTLA), Karl Schmid (KABC), Alex Rozier (KNBC), and Nick Amador (KNBC). Joining the main cast are newbies Rick Montanez (KCAL) and Eric Resendiz (KABC).         

 

And joining the season as a friend-of is Matthew Younis (aka Matt Younis and more famously Mouth Younis; more on that later).

 

With so much conflict within the group last season, many viewers were shocked to hear that six of the eight original cast members were returning. And this time, fans were wondering, “Will this season be better or worse than Season 1?”

 

 

 

And they were about to find out.

         

----------------         

 

         

Nick AmaWhore is not having the time of his life. When we last saw the cast, Nick found himself in the middle of a major rift with everyone, stemming from gossip over Romeo, and his betrayal of Alex, and near altercation with Robert, to name a few. Everyone thinks it’s very weird that Nick isn’t changing (or even trying to change) his behavior, with Karl saying to Nick in the season 2 premiere that he’s just being very creepy at this point and needs help. Yikes. The fact that the whole cast can come to an agreement when it comes to Nick is so mind-blowingly on-brand when you consider that last season, couldn’t stand each other for the most part, but all agreed that season that Nick was the problem. Really, though, I think a large portion of them were the problem. Not Carlos though, thank God.

 

Alex is especially mad at Nick, and is not keen to forgive or make up with Nick. In fact, during the off-season. Nick commented on Alex’s relationship with Kris Hardin.

 

Nick brings in his Bostonian bestie, 32-year-old Matt Younis, which of course becomes a terrible mistake. Though in hindsight, Nick needed an ally, and Matt became exactly that for him. Matt gets his moment this season by shitting on Romeo for refusing to take Nick's advice during the season premiere and take a lie detector test.

 

 

 

 

A significant part of his arc was sharing his past trauma and the emotional toll it took on him, which brings his relationships with the group under intense scrutiny. By the end of the season, he is an emotional wreck to the point of not speaking to any cast members until the reunion. During that reunion, Nick feels like he's on an island by myself and no one has his back.

 

 

----------------------------------------------------------

 

 

Carlos Saucedo's main focus is on family conflicts and shifting alliances. His patience with Nick had worn thin, and he often finds himself at odds with Romeo. But he has gotten closer with Alex Hozier and Karl Schmid, both of whom still can’t stand each other – surprise, surprise.

 

Despite being a full-time cast member, Carlos’s rival Chris Holmstrom is still… Chris Holmstrom. If anything, he plays a supportive role in his connection with fellow KCAL anchor and doppelgänger Rick Montanez, who proves to be the bane of Chris’s existence.         

         

Karl Schmid continues to be shade-throwing GIF-worthy hypeman. But after receiving a lot of mixed reviews from people who say that he talks too much, he decides to… double down.          

         

Alex Hozier is newly engaged to his fiance Kris Hardin, and finding his "Zen" and a new inner peace. But when need be, he is still dedicated to exposing gossip. Translation: he is firmly anti-Nick and anti-Karl.

         

Romeo Escobar quickly finds himself in the center of drama, often clashing with Nick Amador. A major storyline is the repeated accusation of him lying and refusing to take Nick's advice and take a lie detector test. Things get progressively worse and more heated between the two during the midseason cast trip to Puerto Rico, leading to Romeo exploding at Nick at the reunion. Romeo is also pretty rude to Rick Montanez, especially during the trip.         

         

Newbie Rick Montanez is a news anchor for KCAL, giving Chris a costar that he already knew. However, many viewers noticed that the two resemble each other, sparking the rumor that they most likely had a thing a for each other despite both denying this. Rick's arc focuses on his fatherhood. He is a single father of two young girls, and receives much help from the community around him. He often maintains a calm and reasonable perspective amid the group's drama, even when having to put his foot down with Romeo once and for all, while in Puerto Rico. He even has to put Nick in his place after Nick accuses Rick of being a bad father.         

         

Eric Resendiz is a God-fearing queen, gym bro and Disney gay (as well as former Disneyland cast member) who works as an anchor for KABC-7! He is also one of the biggest horndogs known to God, having hooked up with former cast member David González a few times; worst kept secret ever. This is enough for Nick to get on Eric's case, asking, "How can you be so God this God that, and hook up with your co-anchor multiple times?!" Yeah, Eric is Nick's newest target. Eventually, Eric stands up for himself which causes the rest of the group (sans Nick) to rejoice via confessionals.

 

 

         

---------------         

         

💥 The Nick vs. Romeo Feud         

         

This was the most prominent and season-long conflict, escalating to a dramatic climax on the cast trip:         

         

The two never saw eye-to-eye, with Nick feeling like Romeo was secretive and a lira, and Romeo feeling like Nick was untrustworthy, manipulative, and DANGEROUS.         

         

But their feud reaches a critical point during the group's trip to Puerto Rico, culminating in a vicious argument where low blows were exchanged. This incident involved allegations from Nick that Romeo was SA'd, which Romeo vehemently denied, leading to a huge split in the group.         

         

----------         

The season heavily featured issues of trust and gossiping, with Nick often being catty and confrontational, constantly starting shit with the rest of the cast.         

         

Chris, known for being private and avoiding confrontation, struggles with the level of drama and conservative societal expectations.          

         

------------         

   

By the end of the reunion, Romeo states that he want to go back to a time where he "didn't know who the fuck Nicholas Amador was."   

         

After the reunion has wrapped up, and just before the cast takes their group photo with Ross Matthews, a visually grim and defeated Nick storms off the stage, saying nothing as he leaves. Most of the cast and Ross are stunned by this, but Carlos in particular is not surprised by this.         

         

Nick was visibly frustrated and angry, later saying backstage, "I'm just so fucking sick of it," and "I can't be friends with people like that, I don't trust them."          

         

Nick, girl...         

         

-------------         

         

As you can see, FBBurbank got really dark, REALLY FAST.          

Another attraction I would add into the urban neighborhood section of Hollywood Land as an Incredibles-themed roller coaster built from the ground up. Yes, instead of Paradise Pier being rethemed to Pixar Pier (meaning, no Incredicoaster), Hollywood Land gets an indoor multiple-launch steel motorbike coaster called "Elasticycle - An Incredible Journey."

The queue would be located inside the mid-century Parr Family Mansion from "Incredibles 2". Fun fact about the house: To create the Parr family’s new, massive mansion made of glass, wood, and stone for "Incredibles 2," the design team drew inspiration from actual midcentury-modern residences across the country. A group of the filmmakers traveled to Palm Springs and the surrounding areas to tour homes by the likes of Albert Frey and other formative modernists in the Southern California desert. They also spent time at Sunnylands, a 200-acre Rancho Mirage estate designed by A. Quincy Jones in the mid-’60s. So, if an in-universe DCA fan wanted a reason to justify the recreation of the Parr Family Mansion in DCA (or even the ride in general), now you have the house's California inspiration. 

Anyway the queue would be highly themed and give incredible (pun intended) views of Municiberg. How would that work, you may ask? Well, because this is Hollywood Land, the windows of Elasticycle's queue utilizes a massive, customized digital projection and screen system to create its immersive "windows to Municiberg," giving you the illusion that the Parr Family Mansion is in the neighborhood that the Parr family resides on 1444 Incredible Way, where the Parrs reside on "Incredibles 2." Movie magic! 

[Intro: Marcel (Rap: TJ)]

Are you ready?

(Get 'em up!)

Are you ready?

[Chorus 1: S.O.5]

Throw your hands up 

And make some noise

Everybody get loud 

And jump for joy

When I say "reach"

You touch the sky

From the front to the back

From side to side

[Verse 1: Oscar (Marcel)]

Are you ready to get that feelin'?

Do you know when the time has come?

There's a second of realizing

Then we're doin' it all as one

Everybody come on, get on up

All together we move in time 

(Are you ready?)

This is how you can know where you're at

See you doin' it, S.O.5

[Pre-Chorus 1: Cyrus]

Can you hear it gettin' louder?

The sudden noise increasing

A little piece of freedom now

This is the sound, we're gonna raise the ceiling

Can you hear it gettin' louder?

The sudden noise increasing

A little piece of freedom now

This is the sound

[Chorus 1: S.O.5]

Throw your hands up 

And make some noise

Everybody get loud 

And jump for joy

When I say "reach"

You touch the sky

From the front to the back

From side to side

[Chorus 1: S.O.5]

Throw your hands up 

And make some noise

Everybody get loud 

And jump for joy

When I say "reach"

You touch the sky

From the front to the back

From side to side

[Post-Chorus 1: Marcel (Rap: TJ)]

Are you ready?

Are you ready?

(Get 'em up!)

[Verse 2: Oscar (Oscar & Marcel) {Marcel}]

Do you wanna be with me jammin'?

Do you wanna be by my side?

Never stop, we'll keep it movin'

(Are you ready to take this ride?)

Doesn't matter where you come from

Doesn't matter what place you're in 

{Are you ready?}

Yeah, it's the time to get it on

Hear the rhythm and you begin

[Pre-Chorus 1: Cyrus]

Can you hear it gettin' louder?

The sudden noise increasing

A little piece of freedom now

This is the sound, we're gonna raise the ceiling

Can you hear it gettin' louder?

The sudden noise increasing

A little piece of freedom now

This is the sound

[Chorus 1: S.O.5]

Throw your hands up 

And make some noise

Everybody get loud 

And jump for joy

When I say "reach"

You touch the sky

From the front to the back

From side to side

[Chorus 2: S.O.5 (ad-libs: Marcel)]

Throw your hands up 

And make some noise

Everybody get loud (Yeah)

And jump for joy (Yeah)

When I say "reach"

You touch the sky

From the front to the back

From side to side

[Post-Chorus 2: S.O.5 (Wally) {Marcel}]

Throw your hands up (and make some noise)

{Throw your hands up}

Throw your hands up (and make some noise)

[Rap: TJ (Wally) {TJ & Wally}]

Get 'em up!

Put your hands in the air

Space Otters gettin' down

Boy, you better beware

(Gotta do it like this)

('Till you do it like that)

(Do it side to side)

{From the front to the back}

(See you kick it)

(See you ride the groove)

(Do it any way you want)

(But you know you wanna move)

If you got it goin' on

Then you'll never get enough

If you wanna get down

{Throw your hands up!}

[Pre-Chorus 2: Cyrus (TJ) {Wally} 《TJ & Wally》]

Can you hear it gettin' louder?

(Space Otters gettin' down)

(Boy, you better beware)

A little piece of freedom now

This is the sound, we're gonna raise the ceiling

Can you hear it gettin' louder?

{Do it any way you want}

{But you know you wanna move}

A little piece of freedom now

This is the sound

《Throw your hands up!》

[Chorus 1: S.O.5]

Throw your hands up 

And make some noise

Everybody get loud 

And jump for joy

When I say "reach"

You touch the sky

From the front to the back

From side to side

[Chorus 3: S.O.5 (ad-libs: Marcel)]

Throw your hands up (Yeah, yeah, yeah, yeah)

And make some noise 

Everybody get loud (Yeah, yeah, yeah, yeah)

And jump for joy

When I say "reach"

You touch the sky

From the front to the back

From side to side

[Chorus 2: S.O.5 (ad-libs: Marcel)]

Throw your hands up 

And make some noise

Everybody get loud (Yeah)

And jump for joy (Yeah)

When I say "reach"

You touch the sky

From the front to the back

From side to side

[Chorus 3: S.O.5 (ad-libs: Marcel)]

Throw your hands up (Yeah, yeah, yeah, yeah)

And make some noise 

Everybody get loud (Yeah, yeah, yeah, yeah)

And jump for joy

When I say "reach"

You touch the sky

From the front to the back

From side to side

 

Jordan Brown (He/Him/His)

Sep 8 9:03pm

1. Why is studying art in college different from taking classes in high school?

Studying art in college is far more complicated and unpredictable than taking classes in high school. There is almost never just one right answer, and success is not promised. You must play with different techniques and be willing to improve outside of your class.  

 

 

2. How is life not like a video game?

In life, there is no guarantee that you will succeed or fail. The outcome is always unpredictable, and you will have to go beyond what you know (assignment, techniques, and principles) to create good art.

 

 

3. What’s the difference between a BA and a BFA?

BFA degrees are offered by private art school and certain state school (such as CAL state Long Beach), whereas a BA degree is offered at CSUN. BFAs are oriented toward professional education, and BAs require no portfolio admission and are only pre-professional degrees.

 

 

4. Students are brought up in a culture of “Excellent!” stickers, “good jobs!” and high fives. In college, there is a lot of grade inflation. In this kind of a culture, how can you get honest feedback on your art/work from professors and students?

You can that you are open to all feedback, and listen carefully without being defensive or emotional over feedback that you may not agree with. You can also ask specific questions for more feedback; asking whether or not an artwork is good enough is not enough.

 

 

5. What is the difference between sustained passion and circumstantial passion and why it is important to know the difference?

When someone has sustained passion, it means that they are working on their art outside of their class immediately. Circumstantial passion means that someone is interested in an activity as long as they envision themselves doing it for a living.

 

 

6. What is the difference between Practice, Explicit hard work and Ambiguous hard work?

Practicing is repeatedly working on skill so that there is improvement. Explicit hard work means completing a goal with tasks that are very clear. Ambiguous hard work involves trying new things and taking risks to complete a goal, even if you may not know how or if they will pay off in the end.

 

 

7. In regards to the terms, "Practice", "Explicit hard work" and "Ambiguous hard work", which term best describes your personal approach to art? Why?

I would say that my personal approach to art is “Ambiguous hard work.” I am always trying to look for new creative ways to work on my craft, fully aware that I will not knowing what the final outcome will actually be.

 

 

8. What is the 10,000 rule and what are some problems with it?

The 10,000 rule is the belief that it require 10,000 hours of practice to become highly skilled in a field and achieve anything. However, even with hard work and dedication, the number of hours does not guarantee that you will be gifted in a field.

 

 

9. According to the article, why is it important to make mistakes?

To grow as an artist, it is important to make mistakes, because you have to try different things, experiment, and end up in different places.

 

 

10. Describe the purpose of critique.

Critique lets an artist know how their work comes across to others viewing it. The purpose of critique is to understand how other respond and interpret your work. It is never meant to be personal, or a battle between the artist and the viewer, or between the artist and the instructor.

 

 

11. It’s difficult to know how one comes across to others. How can you find out whether other people find you open to critique or not?

I can ask a professor or a classmate if I seem defensive or open when being critiqued. I can also pay close attention to the critiques themselves and see if they are legitimate critiques or just compliments, neither of which is the same thing. And I can also see if someone may be too hesitant to give to point out certain problems with the artwork I present.

 

 

12. Why is it difficult to gauge one’s potential in art? What are some possible strategies for gauging one’s potential?

Good grades do not automatically mean that someone is ready for a professional career. Possible strategies for gauging one’s potential can include entering shows, applying for awards, presenting at conferences, applying for internships, and attending portfolio reviews.

 

 

13. How do you know when you should change course and do something else?

You know when to change course and do something else when continuous work, and honest feedback constantly show that the current direction fit with your interests or skills.

 

 

14. Considering the article's content and your own goals/experiences, write down 3-4 things you should do or start doing this semester that you don’t mind sharing with the class.

I should start drawing more, and creating more personal designs and photography outside of my courses to truly grow as an artist. I am always open to all feedback, so I would definitely welcome that. I also want to improve on my software skills beyond Photoshop, Lightroom, and Illustrator. And I want create a portfolio, and look into exhibitions, internships, portfolio reviews to help improve as an artist.

 

 

 

 

---

Talia Cancik

Sep 7 10:44pm

1. Why is studying art in college different from taking classes in high school? Studying art in college is an actual profession and journey some people choose to take after carefully considering what they want for their future. Taking art classes in high school is often just required, fills up your schedule, or just a fun class students enjoy taking whether or not they are gifted at art. Most high school students will find themselves in at least one art class during their four years, but it is not as often that students who are in college who aren't art majors will find themselves in an art class. 
2. How is life not like a video game? Life is not like a video game because there is no guaranteed “you will win” or “you won’t win”. It might sometimes be somewhere in the middle, and that's ok. 
3. What’s the difference between a BA and a BFA? A Bachelor of Arts is a much more broad degree that grants you the ability to study beyond just art. A Bachelor of FIne Arts however is a much more specific degree in art and requires much more specific coursework in whichever specific field of art you are studying. 
4. Students are brought up in a culture of “Excellent!” stickers,“good jobs!” and high fives. In college, there is a lot of grade inflation. In this kind of a culture, how can you get honest feedback on your art/work from professors and students? Listening with an open mind and a willingness to change will be the most beneficial for improving your work and your work ethic. If you simply ask bland questions with no real reward behind them, you will be met with bland answers that do not help you improve. 
5. What is the difference between sustained passion and circumstantial passion and why is it important to know the difference? Sustained passion is when one works and pursues their art outside of their class/work, not in a hypothetical or futuristic setting. Circumstantial passion is when someone is interested in an activity as long as they know it will earn them a comfortable living for their future. 
6. What is the difference between Practice, Explicit hard work and Ambiguous hard work? Practice is repeating something in order to improve at it. Explicit hard work is when you understand the need for improvement and you know what to work on in order to make the situation/task better. Ambiguous hard work is when you work hard towards something that doesn't necessarily have a clear end goal or intended outcome. 
7. In regards to the terms, "Practice", "Explicit hard work" and "Ambiguous hard work", which term best describes your personal approach to art? Why? I believe I work ambiguously. Oftentimes I have a lot of energy to put into my craft, but I don’t exactly know how it will benefit my future, but I am still ok to put time and effort into my current situation. 
8. What is the 10,000 rule and what are some problems with it? The 10,000 rule is that it requires 10,000 hours in order to become an expert in whatever field you are in. Some problems with this rule are that practice is not only measured by quantity but by quality. No matter how much you practice something, if it isn't good practice, the amount of hours won’t matter. Also, the specific amount of hours 10,000, is not a magical number and it is just a metaphor that was created to ensure that people devote a good amount of time to a craft if they really care about it. 

9.. According to the article, why is it important to make mistakes? Your art may not develop, and it may cause you to shy away in the future from taking new opportunities, if you are afraid of making mistakes. Mistakes build character development and they cause you to take a step back and evaluate your work and truly change what needs to be worked on. 

10. Describe the purpose of critique. A critique is to explain to the artist what needs to be improved on and may even show the artist something they were not able to see for themselves. Critiques are important for artists to experience because they are simply in place in order to allow any artist to have a second or even third opinion which will ultimately cause them to improve in their work. 
11. It’s difficult to know how one comes across to others. How can you find out whether other people find you open to critique or not? You can evaluate your attitude and whether or not you contribute in class, and these reasons may or may not give someone the ability to view you as critiqueable. You should always be open to learning and hearing new things from new or old acquaintances or peers, for the best critique is heard with two open ears. 
12. Why is it difficult to gauge one’s potential in art? What are some possible strategies for gauging one’s potential? It is difficult to gauge someone's level of success due to the time frame a person grows in, their ability to take criticism and actually put work into it, and the amount of time they have to dedicate to their craft whether it is a career or hobby. One’s potential can be reached by asking for feedback, taking risks and challenges, pursuing excellence even when difficult, and seeing whether or not you enjoy creating/making art outside of assigned homework. 
13. How do you know when you should change course and do something else? After much effort, time, and consideration, one should consider changing courses when they've given all they have and they simply cannot enjoy the path they had chosen in the first place. If you have temporary frustration built up within you, then you can consider sticking it out for a bit longer. However, if you have a loss of interest, then it may not be the right fit or path for you to take. 
14. Considering the article's content and your own goals/experiences, write down 3-4 things you should do or start doing this semester that you don’t mind sharing with the class. 

1. I’d like to take inspiration for my art from more books that I've read, or new books that I am going to start. 
2. I want to practice learning my Armenian alphabet, and one way I can practice is by incorporating the Armenian letters into my art work.
3. I’d like to ask for more feedback from my teachers even if I'm doing well in my classes. Doing well doesn’t always mean you are growing, I’d like to get more specifics. 
4. I want to create a portfolio of pieces I already made, and compare them to a portfolio that I will make of my new stuff at the end of the semester. 

 

 

 

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Peter Mboh

Sep 7 10:34pm

1. Why is studying art in college different from taking classes in high school?

High school art focuses on following specific, step-by-step instructions to earn good grades. College art is ambiguous and complex, requiring you to go beyond basic assignments without a guaranteed formula for success.

2. How is life not like a video game?

Life does not have a set path or clear rules where doing simple tasks automatically levels you up. There is no guaranteed formula or explicit roadmap that ensures you will succeed.

3. What’s the difference between a BA and a BFA?

A BFA requires a portfolio to get in and focuses heavily on technical training for a specific job. A BA does not require a portfolio and offers a broader education to help you explore the field, requiring extra work outside of class to build a career.

4. In this kind of a culture, how can you get honest feedback on your art/work from professors and students?

You can get honest feedback by asking specific questions about your work rather than general ones like "Is this good?" Additionally, remain calm and open so people feel safe sharing their true thoughts without worrying about hurting your feelings.

5. What is the difference between sustained passion and circumstantial passion and why it is important to know the difference?

Sustained passion means creating art on your own right now, regardless of the personal sacrifices required. Circumstantial passion means only enjoying art as long as it guarantees a comfortable lifestyle. Knowing the difference helps you decide if you are willing to handle the real difficulties of an art career.

6. What is the difference between Practice, Explicit hard work and Ambiguous hard work?

Practice means repeating a skill over and over to improve it. Explicit hard work involves doing clearly defined tasks where the effort directly leads to a predictable result. Ambiguous hard work means taking initiative and trying risky new things—like networking or self-teaching—even when you do not know if they will pay off.

7. In regards to the terms, "Practice", "Explicit hard work" and "Ambiguous hard work", which term best describes your personal approach to art? Why? 

My approach is best described as ambiguous hard work because I regularly push myself to take on new personal projects and seek out extra feedback beyond class assignments. Taking these independent risks helps me figure out what to do even when there are no clear directions.

8. What is the 10,000 rule and what are some problems with it?

The 10,000-hour rule claims that practicing a skill for 10,000 hours makes anyone an expert. The problem is that it ignores natural talent and physical limitations, because hard work alone cannot completely overcome individual traits.

9. According to the article, why is it important to make mistakes?

Making mistakes helps you figure out what works and what does not through real experience. Over time, these successes and failures build your artistic intuition and help you grow.

10. Describe the purpose of critique.

The purpose of a critique is to act as a mirror that shows you how other people actually see your work. It helps you learn if your intended message is clearly coming across to the audience.

11. It’s difficult to know how one comes across to others. How can you find out whether other people find you open to critique or not?

You can tell you are open to critique if people feel comfortable giving you direct, honest feedback. If you notice yourself getting defensive, making excuses, or becoming overly emotional, you are likely pushing feedback away.

12. Why is it difficult to gauge one’s potential in art? What are some possible strategies for gauging one’s potential?

It is difficult because grades do not equal professional capability, and teachers rarely give harsh feedback that might hurt your feelings. To gauge your potential, put your work out there by entering competitions, applying for awards, and trying different studio classes to see where your true strengths lie.

13. How do you know when you should change course and do something else?

You should change course when you continually lack positive evidence or feedback despite your effort, showing that a field may not suit your natural strengths. Staying on an ill-fitting path keeps you from finding another area where you could truly succeed.

14. Considering the article's content and your own goals/experiences, write down 3-4 things you should do or start doing this semester that you don’t mind sharing with the class.

1. Schedule a meeting with my advisor and dive deep into how my education can take me to new heights within my career. 
2. Treat my daily interactions with classmates and faculty as a professional audition by being reliable and collaborative.
3. Practice taking initiative through hard work in ambiguous situations, such as taking my content to arenas I have not engaged in before. 

 

 

 

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Maximiliano Montoya

Sep 7 7:33pm

1. Why is studying art in college different from taking classes in high school?

Studying art in college is different from taking classes in high school because they challenge you to use different strategies, techniques and ways of thinking that will lead you to different end results. This is different from high school because high school courses are created to train students to produce a certain outcome with specific methods and strategies. 

2. How is life not like a video game?

Life is not a video game because most video games once you achieve levels or status in video games you are able to progress to the next level. Video games often have a path that will take you down a “successful” route with a good outcome at the end. Life does not give you a route to success, you have to find it yourself through seeking out opportunities. 

3. What’s the difference between a BA and a BFA?

A BFA is a more professional way of education that focuses on your specific area of study, limiting you from exploring other art practices. A BA is more open and is geared towards preparing students for an understanding of what they want to do as a career. It helps students understand their artistic practices and who they are as observers.

4. Students are brought up in a culture of “Excellent!” stickers,“good jobs!” and high fives. In college, there is a lot of grade inflation. In this kind of a culture, how can you get honest feedback on your art/work from professors and students?

You can get honest feedback on your work from asking questions and taking their feedback as ways to improve how you are communicating your art. 

5. What is the difference between sustained passion and circumstantial passion and why it is important to know the difference?

Sustained passion is working on art outside of a classroom setting and seeking out opportunities outside of school while circumstantial passion is being invested in an activity that will promise you a good pay out. It is important to know the difference to understand how your creative processes work and what you are sacrificing or gaining from each experience. 

6. What is the difference between Practice, Explicit hard work and Ambiguous hard work?

Practice is the act of sharpening one’s skills in a particular subject, technique, or way of thinking. Explicit hard work is working through the already expected course or pathway that is needed to get to where you want with little to no risks. Ambiguous hard work is taking opportunities and risks that will help you develop your work and understanding of how to create it. This also helps you to find ways to see why a certain experience was worthwhile instead of thinking about if the outcome is bad and does not work out. 

7. In regards to the terms, "Practice", "Explicit hard work" and "Ambiguous hard work", which term best describes your personal approach to art? Why?

My personal approach is a mixture of explicit and ambiguous hard work. I take the route that is specific to my desired career choice and educational experience while only sometimes taking opportunities and risks that will affect how I work. I find that I am a very shy and reserved person so it is hard for me to reach out and do things. It is something I am actively working to break out of.

8. What is the 10,000 rule and what are some problems with it?

The 10,000 rule is that you will be an expert in your field after 10,000 hours of practice. This is not true because some people have special talents, more dedication, and different backgrounds that can contribute to their level of expertise. Some can get there faster than others and may even have a better understanding of it. 

9.. According to the article, why is it important to make mistakes?

It’s important to make mistakes in order to develop an artistic method that is right for you. It makes multiple paths that all end at different places that will show you how much you have learned to create art. 

10. Describe the purpose of critique.

The purpose of critique is to be able to use expression to convey meanings and statements to the audience more accurately. You must be able to understand how other people interpret your art to then make adjustments to your work. 

11. It’s difficult to know how one comes across to others. How can you find out whether other people find you open to critique or not?

You can find out other people are open to critique from them asking you questions about how you feel about the piece. A person would also offer their own constructive criticism to help others grow as well. 

12. Why is it difficult to gauge one’s potential in art? What are some possible strategies for gauging one’s potential?

It is difficult to gauge one’s potential in art because it is common to not want to discourage people when they create a work that needs work. We as people only like to give positive feedback and reward for getting the job done, not expanding on how you can improve. Some possible strategies for gauging one’s potential is exploring different ways of creating art, noticing your strengths and weaknesses, and deciding to be open to critique of your work. 

13. How do you know when you should change course and do something else?

You would know to change course and do something else when you do not fit or do not enjoy an area of study. You should also know what your long term goals are and where you see yourself career wise to know if the area is the right choice for you or not. If you do not enjoy what opportunities you will get when in a certain area of study, then it might not be the right pathway. 

14. Considering the article's content and your own goals/experiences, write down 3-4 things you should do or start doing this semester that you don’t mind sharing with the class.

The first thing I can start doing this semester is explore more of my opportunities in my field of choice or push myself to explore new experiences that will enhance my art, for example more teaching opportunities and art galleries. The second thing I can do is explore different art mediums more to see where I excel and how I can improve. A third thing I can do is be more open to critique and even ask questions about how I can improve. 

 

 

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Kayla Broberg

Sep 7 11:31am

1. Why is studying art in college different from taking classes in high school?

There is more opportunity for exploration in college. In high school, students are taught to reach goals by taking a linear path, whereas college affords students the chance to try new things. Studying art in college helps students to develop their career in the arts which is more specific than the general knowledge one might get from a high school art class.

 

2. How is life not like a video game?

In life, there is no guaranteed path to success and there is no “one path” that everyone must follow. Everyone’s path will look different.

 

3. What’s the difference between a BA and a BFA?

A BA is considered a pre-professional degree while a BFA is considered a professional degree. A BFA requires a portfolio for admittance and more units. A BA does not require a portfolio and is less job oriented, but instead is focused on giving students a broad understanding of the arts as a profession.

 

4. Students are brought up in a culture of “Excellent!” stickers,“good jobs!” and high fives. In college, there is a lot of grade inflation. In this kind of a culture, how can you get honest feedback on your art/work from professors and students?

When looking for critique on your work, it is important to be open to what others might say. By accepting what others see in your work, you will invite future critique. Asking specific questions will render specific critiques while asking general questions will only render general critiques.

 

5. What is the difference between sustained passion and circumstantial passion and why is it important to know the difference?

Sustained passion is just that, passion that is sustained outside of class assignments. It is the work that you do each day as an artist. Circumstantial passion is the necessary work that gets you from point A to point B, whether that be in a class or a career. It is important to know the difference because the goals and outcomes may be different. Circumstantial passion may help you make a living in the short term, while sustained passion is a long term commitment to art.

 

6. What is the difference between Practice, Explicit hard work and Ambiguous hard work?

Practice is repeatedly doing something with the goal of improving your skills. Explicit hard work is work that is done with a particular goal in mind. Ambiguous hard work is not always clear. It involves taking risks and trying new things. With ambiguous work, it is not guaranteed that there will be a tangible outcome, rather it provides the opportunity for experience. With this experience, one can become more comfortable with the idea of ambiguity and be able to find meaning in those experiences, even if it is not obvious.

 

7. In regards to the terms, "Practice", "Explicit hard work" and "Ambiguous hard work", which term best describes your personal approach to art? Why?

Explicit hard work is the term I would use to describe my professional work as a graphic designer. Each project has a clear goal and work is done to achieve that goal. Ambiguous hard work is how I would describe my personal studio arts practice. When I sit down to work on a personal project, I may have something in mind but as I work I may alter my techniques or move in a different direction than originally intended. Sometimes I may not finish a piece, or I might not be satisfied with the work done, prompting me to re-think my idea.

 

8. What is the 10,000 rule and what are some problems with it?

The “10,000 hour rule” says that someone will be an expert in any field after 10,000 hours of practice. One issue with this rule is that it ignores the unique talents and abilities of individuals as well as personal limitations. The rule does not appreciate inherent skill that may exist  in individuals.

 

9. According to the article, why is it important to make mistakes?

Making mistakes as an artist can help hone intuition. Failures can teach more than successes in that they provide opportunity for thought and creativity. By making mistakes, an artist is able to make better choices the next time around.

 

10. Describe the purpose of critique.

Critique is a valuable way to understand how your work comes across to different people. It can help you improve your work and have a deeper understanding of the process that goes into artistic expression.

 

11. It’s difficult to know how one comes across to others. How can you find out whether other people find you open to critique or not?

Apart from asking directly, you can get an idea of whether others find you open to critique by how they critique your work. If you get the sense that someone is not speaking openly about your work, or that they only say positive things while critiquing, then it may be that they are more concerned with hurting your feelings than giving you honest feedback.

 

12. Why is it difficult to gauge one’s potential in art? What are some possible strategies for gauging one’s potential?

It is difficult to gauge one’s potential in art because that potential is ambiguous. It cannot be measured by a number or a grade. Instead, potential is something that is continually questioned throughout one’s life and career. It is important to try new things and to see where one’s natural abilities lie. By paying attention to opportunities, a previously unforeseen path may present itself.

 

13. How do you know when you should change course and do something else?

It can be hard to know when to change course, but it would be impossible without feedback. Knowing when you are not a good fit for something, either through critique or experience, is a good place to start when deciding on which direction to go. Paying attention to the things you feel confident about the things you dislike can be helpful in gauging whether a particular path is right for you. I think it also helps to not compare yourself to others but instead listen to what your own experiences are trying to tell you.

 

14. Considering the article's content and your own goals/experiences, write down 3-4 things you should do or start doing this semester that you don’t mind sharing with the class.

I need to work more on my sustained passion. I find that with all the other work that I have to do in a given week, I sometimes find myself procrastinating when it comes to my personal arts practice. I can also be a bit of a perfectionist, and so working on being comfortable making mistakes is something that I struggle with. I would like to work on reframing my perspective on mistakes and what a take away from making them. I would also like to work on giving critique to others. There are times that I feel I am too concerned with “being nice” that I feel I am doing a disservice to those asking for honest feedback.

 

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Marilyn Bernal Ramirez

Sep 7 3am

1. Why is studying art in college different from taking classes in high school?

• College art is different from high school art because of the method that’s being taught to students. For example, high school is based on the school’s district curriculum that is taught one way based on how well students “followed the rules”. On the contrary, college art is the opposite and provides students to be more free with their skills while pushing boundaries.

2. How is life not like a video game?

• Unlike video games that come with specific rules to unlock the level, life is the opposite. Life does not have set “rules” because everyone’s experiences are different. Also, in a video game the final goal is winning and in life the reality is there’s no guarantee based on one’s performance.

3. What’s the difference between a BA and a BFA?

• The difference between a BA and a BFA is the way the degree is being used in terms of career path in the world of art. For example, a BA is good for a “professional education” that requires a portfolio to be admitted and more units to be taken. In contrast to a BFA, no portfolio is required because it’s a “pre-professional” degree and used broadly within the art field. Thus, requiring students to look for extra connections/engagement outside of the school to guarantee a job.

4. Students are brought up in a culture of “Excellent!” stickers,“good jobs!” and high fives. In college, there is a lot of grade inflation. In this kind of a culture, how can you get honest feedback on your art/work from professors and students?

• In this kind of culture and in my opinion, the honest way to get feedback is by sharing your own observations. This is usually done when students present their works to the class while both students and professor critique the work asking the audience for ideas and/or room for improvement. 

5. What is the difference between sustained passion and circumstantial passion and why is it important to know the difference?

• The difference between passion and circumstantial passion depends on the type of student’s desire for their art career. Sustained passion is working on your career as we’re speaking and making sure the artistic talent is out of their norm. On the other hand, circumstantial passion is working on a career that feels “comfortable” which only limits the artists and waiting to be “seen”. It’s important to know the difference between the two because it’s a form of self reflection and reference to help artists succeed. Also, it is bringing awareness to the challenges one will face to give the artist thinking of what is their worth of sacrifices. 

6. What is the difference between Practice, Explicit hard work and Ambiguous hard work?

• The difference between Practice, Explicit hard work, and ambiguous hard work depends on the artist’s willingness to create without guidelines. For example, explicit hard work is when the artist is aware of structure or system to achieve the goal. However, ambiguous hard work is the opposite because it requires risk taking without knowing the outcome. 

7. In regards to the terms, "Practice", "Explicit hard work" and "Ambiguous hard work", which term best describes your personal approach to art? Why?

• Throughout the years working on my creative skills I have not focused on this much but I would agree that I have moments of all three. For me personally, it depends on the work I have to create and the outcome’s purpose. For example, I would say my first beginning college artworks I created were based on techniques that felt “comfortable” because I was focused on the basic fundamentals to draw. As I was progressing through, my focus shifted and took into consideration the open possibility art has. This made me switch my perspective on my class’s projects into something serious to put in my art portfolio. But, like everything else, I am constantly learning new things and get moments where I go back to my “comfort” when I have no creativity in me.

8. What is the 10,000 rule and what are some problems with it?

• The 10,000 rule is based on a misinterpretation of working so many hours assuming it is the answer of how to be successful which is not fully accurate. Yes this career requires time and effort but, the talent will say otherwise. As stated in the text, the example is that one can practice to play basketball, but a few will make it to play in the NBA. The problem with this is that not everyone will be “fit” for the same role because everyone is individually unique. 

9.. According to the article, why is it important to make mistakes?

• Mistakes are essential and can be seen as references to be used to improve qualities and skills. They can be used as a from of a tool because it becomes part of the learning process to improve for the future.

10. Describe the purpose of critique.

• As I mentioned before, critique is a method that can bring in feedback and have open conversations, ideas, and space for potential improvement for the artist. As for the audience, it helps understand the artist’s expression through their work through their engagement with the artwork.

11. It’s difficult to know how one comes across to others. How can you find out whether other people find you open to critique or not?

• I would say I’ve learned to be open when it comes to critique and feedback because everyone’s perspective is different. I usually ask similar questions stated in the text about asking their ideas and improvements.

12. Why is it difficult to gauge one’s potential in art? What are some possible strategies for gauging one’s potential?

• It is difficult to gauge one’s potential in art because in this field it has become a broad to the extent possibility of creativity within a professional career. Also, each artist is quite different resulting in different types of artwork to be put in a specific box. Some possible strategies for gauging one’s potential is not to limit yourself and continue expanding your knowledge until one feels ready to be independent/“professional”.

13. How do you know when you should change course and do something else?

• Based on my experience, I would say it’s when my career was seen more for passion than for income. As a human instinct, you’ll know because we always go back to what makes us feel good/comfortable/seen whether it’s life in general or career and decide to make it into a lifestyle.

14. Considering the article's content and your own goals/experiences, write down 3-4 things you should do or start doing this semester that you don’t mind sharing with the class.

• My 3 goals/experiences:

1. Manage my procrastination 
2. Take assignments/projects for potential portfolio opportunities & as future art educator
3. Remind myself not to stress on things that are out of my control
4. Make time for my son and family