I recently took Iris Sparrow’s amazing Chair Slink class at my pole dancing school, The Vertitude in Los Angeles, California. The class was GD awesome (seriously, check her shit out) but my ligament laxity and nerve damage from a botched surgery to fix it literally made it impossible to finish. I can’t pivot on my knees or stand and kneel without pain. I can’t land on the tops of my feet nor point them well enough to be able to sit on my heels.
To say that I was crushed is an understatement. I was so angry with my body – I’d wanted to take Iris’ class for over a month because she’s amazing. I discovered mid-class that almost every pivot point in Chair necessitates pivoting on either my nerve damage or my bone fusion. I’d have to spend days isolating the moves to figure out how to not dislocate myself, and the bone fusion absolutely prevents me from most of the pivots on my feet. She did a great job trying to help me modify, but my body just couldn’t handle it.
I tried to get through the class – because I’m a big fan of always starting what I finish. Several joints tried to dislocate but then a a back bend I had never done before caused my shoulder to pop out of it’s socket (since I hadn’t programmed into my muscle memory how to brace that one) so I went into the bathroom, cried, and then vomited from the pain.
The first thing that goes through your mind is that you want to quit. Why is your body like this? And how was it fair that you became disabled like this?
But the thing is that problems are opportunities and disability is a super power.
Opportunity 1: I’m able to take skeletal damage that would put most people in the hospital and bounce back from it quite immediately because my ligaments are flexible. After the pain swell it calmed down and I was visibly ok. I’ll be in class tomorrow. I’ve survived what you have broken someone else’s ankle or worse and walked normally the same day, just minutes later.
Opportunity 2: I’ll have to isolate all of these moves and figure out what muscles to tense to brace each joint, and then I can probably approximate it. This will take days – days other people don’t have the gonads to devote to something like this. I’m going to be super powered by my own body’s necessity.
Not going to lie – I considered quitting dance. But 5 seconds later I began to think like this post. It’s ok if when you face something upsetting that you have that flight reaction. We can’t control how we feel – but we can control how we respond to it.
I’ve conditioned myself to quickly flip the switch on my internal dialogue and think like the above. It’s freeing, its powerful, and it always leads to better things.
FACE DOWN, ASS UP that’s how we fail well at being a stripper but win at having tacos in our epsom salt bath so we can go to class again tomorrow because we are superpowered (but sore)…
I am very familiar with the Florida parks so I didn’t know what to expect. USH HHN has 8 houses, plus their year-round Walking Dead haunted house, the Terror Tram, 3 scare zones, and the jabawockeez dance show. We didn’t see jabawockeez so that won’t be part of this review.
I normally place the marketing images for each house in their reviews but… Note for when Universal Studios Hollywood’s team reads this: Hey guys, you may want to tell your ad agency to make the images easier to save and not like this on your site so we can write about how much we love your work and make it look as pretty:
Anyhow. I did this one like I do all of them. VIP all the way. DISCLOSURE: I paid out of pocket to do this and USH Management had no idea I was here on this night.
I’ve seen the first Insidious film but for some reason I can’t remember much of it. This house was no different. I believe the thing possessing the people in the film was just menacing you as you went through. It was a rather simple, but effective design, but the story wasn’t explained if you didn’t already know the film. I don’t mean this as a negative. Simple isn’t necessarily bad. At least, it’s not bad in how I’m conceptualizing it here. Personally I feel like an attraction goes from good to great when it tells the story for people who aren’t in the know already, so this one was good. The set design didn’t have the depth that it’s counterparts in Florida have. Overall we had a lot of fun in here but I’d probably have to watch the film again to get a lot of what I saw on a deeper level.
American Horror Story: Roanoke:
I love AHS and have a pretty deep knowledge of the franchise. I really enjoyed the AHS house in Orlando, Florida last year. This house was fun, but a bit scaled down from what I saw in Florida. I also had problems with the narrative flow much like I did with the Insidious house. I saw what I think was Kathy’s Bates’ character chasing us over and over and some pig people but not many of the main characters from the show. If Lady Gaga’s character was in the house I missed her. I feel like if you aren’t deeply familiar with Roanoke this house may have been lost on you – but I enjoyed this house!
In this house you get chased by Jack. The set pieces were a bit better in this house. There were projections, peppers ghost illusions, and many of the scenes replicated form the film. I enjoyed this one! This one was easily one of the stronger houses. Even if you didn’t know the story (like me – I was blind before recently and catching up) you understood vaguely what was going on because of how the scenes were book ending the sequences of startle scares.
SAW is another franchise that I have a deep knowledge of. By the time we got to the SAW house, we were realizing that the houses in general in USH are more sparsely decorated than it’s Florida counterparts across the board. Again – this isn’t necessarily a bad thing because we enjoyed ourselves in all of them – just an observation for my east coast readers who will be asking me how they are different. The SAW house was one of the more visual houses and it actually made Harknell queasy. You got to see several torture scenes from the films interspersed with pig people chasing you.
Titans of Terror:
This one had slightly better levels of decor and set pieces than other houses and several really good scares and effects. I especially liked Freddy’s glove coming out of someone’s chest in front of me. This one was fun! I felt that the scares were also a bit more creative throughout.
The Horrors of Blumhouse:
This was The Purge, Happy Death Day, and Sinister. Our takeaway with this (and most of the houses) was “oh, that was fun.” This may seem like an odd thing for me to write because I usually get really in depth – but just bear with me until the conclusion of this post. I’m going somewhere with this. In this case my blow by blow observations are just an appetizer.
Ash vs. Evil Dead:
This was one of the best houses. Great set pieces, great actor improv, and phenomenal sound. They had actors working together in here which I find is relatively rare everywhere. I don’t know why it’s so rare because it’s a great way to deal with high capacity and still give everyone a good show quality. This one was probably THE best house of the night.
The Walking Dead:
I don’t know if the show running in here was different than any other day of operation since it’s a year-round attraction, but this house was on the level that Florida usually does. The atmosphere was great and the scares were set up well. The rooms were built more upward than all of the other houses. I imagine its a challenge when working with so many temporary locations – in Florida they have sound stages that aren’t being used so the houses can be built in there like this one. In Los Angeles they are kinda busy filming movies so…
They took some of the scares I saw in Florida and perfected and played with them to be unique to their space. Someone email me from the top bar / tweet / FB / Instagram me and let me know if this was different for HHN or just the usual attraction.
Titans of Terror Tram hosted by Chucky:
I had heard amazing things about the Terror Tram but it really was just a bus ride to a large walkthrough scarezone. Again: Very enjoyable. But when you are bussed to a special area perhaps you expect a bit more than this. We had a lot of fun, but maybe because we went to Florida first we’re surprised by the smaller scale. The Urban Inferno scarezone that was part of the main area actually felt more “big” to us. But again – this was a lot of fun!
As mentioned above, Urban Inferno was great. Devils, stilt walkers, great lighting and sound. Hell-o-ween and Toxic Tunnel were mostly forgettable. Minimal props and just actors roaming about. Fun!
So you’ve heard what I have to say – but what does all of this mean? It means I had an AMAZING TIME at Universal Studios Hollywood Halloween Horror Nights for 2017. This is a Must See event and this may be my favorite park. You don’t need to be as big as Florida to be amazing. Scare Zones don’t need to be done with super set pieces to be enjoyable. The Florida Park is bigger and more detailed in it’s execution by far and they are awesome, but personally I actually felt more at home in Hollywood. The park experience was just nice. You felt welcome, you had fun in every house, and the staff were all kind, friendly and not pushing anyone through quickly. I give these guys my wholehearted recommendation – just know that like Disneyland, they are working with a smaller space. But they truly know how to execute properly within it.
Hello from my new home of Los Angeles! It’s windy today:
I’m just about adjusted to life on the west coast so I will be online more often now. Who would have thought moving 2450 mikes away from everyone I know would be a lot of work? (Spoiler: I did.) Thanks for bearing with me while I put things back together bigger and stronger!
Anyhow, I had the opportunity to check out Reign of Terror, which is actually one of the few independent haunted attractions in my beautiful new home of southern California.
Before I talk about that, it’s kinda important for me to talk about cultural differences between the east and west coast regarding to this.
The first thing I noticed about Los Angeles is that they have less haunted attractions than the northeast. Aside from Universal Studios and Knott’s Scary Farm I think I found like – 3? Real estate is very expensive and everything is vey spread out so that may be a factor.
They do a lot of high end immersive theater in Los Angeles but that, to me, is a different type of attraction. I enjoy immersive theatre and I’ve actually reviewed a few before. So I’m not saying I don’t like these types of things. I do like them. I’m simply saying that the productions I’ve seen so far California don’t seem to deal with supernatural fantasy like New York City’s Then She Fell or Tampa’s The Vault of Souls. Personally I’m attracted to darker fantasies like that. They may exist here and it could be that I haven’t found them yet. If you know of any, do let me know by emailing me via the top bar on this blog.
TL; DR: They still aren’t haunted attractions like 99% of what I’m known for reviewing on this page.
Reign of Terror is located in a strip mall in Thousand Oaks, California which is generally a red flag. Attractions can seldom pay the year-round rent so often you find that the ones in these spaces are sometimes less developed than ones that don’t have to pack up and leave during the year. I don’t know if they have this space all year ’round or not since I just moved here, but I did not find this to be a problem. The attraction’s rooms were amazing and well-staged. If they set this up in a few months that was amazing work on their part.
They must not have the same laws in California regarding hallway width that New Jersey and Pennsylvania have because the halls were more narrow. This wasn’t a problem – just an observation in how the feel was slightly different. I enjoy seeing what’s different in my new home state, so maybe this piece of information would appeal to just me.
There is no story to the haunt. It was the style of haunt where it was a greatest hits of many types of haunt themes. This is not a bad thing, just another observation in what you can expect from the execution of the production. You’ll see a haunted mine, clowns, killers, contaminated areas, aliens…you get the idea. It was decently executed. The rooms looked good and they hit all the marks that your casual haunt fan is going to expect. Aside from the wait times (get there early to help with this) casual haunt fans will probably enjoy this attraction and should go see it early to avoid longer wait times.
So now let’s talk about the constructive criticism part of the review. What would an experienced haunt fan notice? How can this attraction transcend past what they are now to being able to hold its own with the country’s best?
I noticed that the sound bled a little in the pre-show room. It was a video of a coal miner introducing the first attraction and telling you what to expect, plus the rules that customers should follow. Since there was no story and the lines were very long, I felt like this room was maybe a redundant stop in traffic flow.
Usually the person working the line performs this task at most attractions – and that works better communication-wise since many customers seem to ignore videos but pay attention to people in my personal experience. In this case we had 2 stop points in the loading sequence instead of 1. I expected an actor – assisted scare here or something to make this space blend into the production. I’d suggest that they look at how this part of the attraction fits into their flow. I like to always ask myself creatively “Why is this here?”. If I can’t say that it adds to the story/atmosphere or crowd flow efficiency then perhaps it should be changed or eliminated.
They oversold the VIP tickets so that it was 40 minute wait for the VIP line. It appeared to be almost as long as the regular line. Once you got inside you realized it was shorter, but from a customer’s point of view this seemed annoying. I’m not sure I’ve ever waited more than 15 minutes for a VIP line in every haunted attraction across the country, so this didn’t work as well as it could have.
I applaud that they were pulsing people through in small groups. They kicked ass at that. We experienced no backups in the haunt and so once you got inside traffic flow was great. That’s actually relatively rare so they deserve applause for this.
I heard several actors screaming in vocal chord damaging ways and the timing just wasn’t there on the night that we went. They were by no means the untrained level of New Jersey’s Camp Evans Base of Terror, but it felt like an hour of instruction in how to function in their own narrative space and how to be more fluid and less direct would help.
I’d like to see them examine their actor blocking in each room and encourage the actors to work in teams. For example if there’s a room with only 1 person face down on a desk it’s pretty obvious she’s gonna stand up and scream at you. Put another actor there to the side to scare people and have that person be a decoy – not the payoff. Or have 2 actors fight with each other or something unexpected to break up the chain of startle scares.
I especially feel like too many rooms had only animatronics. In the case where they had actors they did not have the actor set up to take advantage of distraction scares (similar to what I mentioned above) in tandem with the animatronics. They were using the animatronics as the hero character for the rooms they were in. I saw several missed opportunities throughout where you’d expect them to have placed actors but there was no one there. Animatronics should, in my opinion, almost never be used on their own and should always be incorporated in a distraction scare or actor-driven interaction. If they had trained the actors to work with the animatronics I feel like the rooms without actors wouldn’t have registered as the same type of thing. To me it was kind of like a movie that needed a slight recut due to pacing.
This haunt was long – I think we were in there for over 20 minutes. I wasn’t bored inside this haunt. I have been bored in haunts that were this long before so this was a very good thing. It flowed well and was enjoyable. That said, it didn’t fully grab me – mostly because the timing of the actors was off just enough that it felt like each group got hit in the middle or behind and I got almost nothing the entire way through in the front.
Don’t get me wrong – they have an amazing setup in here. The people with us seemed to be freaking out a little so for casual haunt fans this is probably going to be a great time. For folks who really know haunts I feel like some small tweaks – examining their queue system, pacing, and investing in training their actors could make them a game-changing, resonant haunt for all of us and worth of a plane ticket for my readers back east. In it’s current state it doesn’t inspire repeat visits or stick with you after you leave due to the lack of a cohesive narrative.
All in all Reign of Terror was a lot of fun and it was way better constructed than I expected. They pulled off some amazing design in a strip mall of all places and should be very proud of what they accomplished. My criticisms come from a place of wanting them to be able to hold their own with the country’s best – and they are darn close to be able to do so! These guys are pretty cool and I am glad they are in Southern California and even more proud to live here because of this.
I moved to L.A. because of my love of music, so of course I already went to my first concert. There was no way in hell that I would miss the chance to see Plini and Nick Johnston live at The Roxy on the Sunset Strip.
Before I permanently left New Jersey I made a point to buy every album that Nick and Plini have ever put out. You know – just in case my finances got hit during this move. I have my priorities straight.
Another band that I bought everything from before moving here was Animals as Leaders – more on that later.
I won’t be detailing the set list because I’m not google. I’m here to talk about what it was like to actually go to this show.
I got there later than I wanted to and so my biggest regret is that I missed Mike Dawes who happened to perform at this particular show. This guy is amazing. Just look at this shit:
He reminds me a bit of Jon Gomm but has a completely unique point of view that makes you feel like your face just got stampeded sideways by a metric ton of bears or something. I can’t explain it. Watch the video because wow, guys. I am going to be following his work and getting his album. I’m definitely going to be in the audience at the next show of his that I can get to.
I arrived right when Nick Johnston went on. Holy shit, guys.
The thing about Nick’s work is that his phrasing and melodic composition is always strong, but his most recent album, Remarkably Human is his best work to date. He has Gavin Harrison on drums and Bryan Beller on bass for the album but they aren’t touring with him.
Remarkably Human really transcends way past the combo bonus of it’s parts. I think that a key to this is because of (I think it was) co-producer Scott Giffin’s addition of the piano into the mix which REALLY compliments Nick’s melodies. The reason why is that it’s unexpected. I’d have NEVER thought a piano would add much to an instrumental guitar album, but it does. It creates such an appropriate atmosphere without sacrificing Nick’s impact or authenticity.
The live show is just as good if not better than the album.
You can imagine how happy I was when Bryan Beller actually came out as a surprise guest for 2 of my favorite songs. He’s one of my favorite bassists because his style is extremely expressive and just petulantly joyful. He’s able to hold together any song no matter how chaotic and combative the rest of the composition is, yet somehow still makes space to play around. He handles the job but maybe will tie your ear dick to a flaming T-Rex when you aren’t looking is basically what I mean.
Plini’s work is, in my opinion, the type of music that can grab your central nervous system and rewrite its programming faster than a kick to the ladysack. He’s able to tell stories with sound that transport you elsewhere in unconventional ways that adhere to your spine. The sounds he chooses to work with and how they are put together are a bit different than the usual. I’d argue he sorta created his own genre. His work tends to feel like it transfixes you into the world it lives in. It’s uniquely calming and powerful, which is a hard balance to achieve. I really enjoyed Handmade Cities.
I was not sure how that would translate live.
Spoiler: It worked. Very well.
Not only did the live execution of the songs work, but I thought it was a nice touch to have the audience do the vocal part at the end of Every Piece Matters:
But that wasn’t all. Jake Howsam Lowe from The Helix Nebula was the second guitarist.
I recall listening to it being like “Ok this is simple ok…whoa wait…FUCK SHIT FUCK WHAT GOD HOLY. SHIT.” Jake can just drive you anywhere with his work and you may or may not want to go but you’ll go either way. Because Hell Yes.
I needed to take a second to calm down after he punted me out of the 36th floor of a skyscraper with that one.
This show was amazing! Holy shit, you guys. Apparently everyone in Los Angeles came out on this night – even Javier Reyes from Animals as Leaders and Brendon Small were there.
You can imagine how I nearly shat out the window and vomited out of my eyeballs when Tosin Abasi and from Animals as Leaders came out at the end to jam.
I had been totally gutted awhile back when I couldn’t make it to see Animals as Leaders live because I was preparing to exit New Jersey. I’ve been following AAL ever since I discovered Tempting Time on YouTube awhile back. What is that? 5/4? 19/16? 23/16? ALL OF THEM?
I’m going with, “All of them.” Tosin is one of those guitarists that just makes you want to practice. A lot. And then some more.
After a major life change, Los Angeles just reached out and made it clear to me that it was going to welcome me. This is where I belong. This is where the music that I like lives. I’m free to study and become the musician I always wanted to become without reproach. It’s all up to me now.
I stayed up until almost 3AM drinking in the Rainbow room in some bizarre alternate universe with, like, 80% of the musicians I listen to and who inspire me to study to be the best guitarist and vocalist that I can be. I met so many cool people and they even saw fit to let me backstage where I basically just talked about dicks and butts a lot. (The usual. You know. I keep it real so no one gets confused.)
The next day I practiced for hours after I woke up wondering if this was actually real life or was this like some bizarre dream that ends in a David Hasselhoff parody comprised of chipmunks like the last dream I had.
Answer: I did not see the Hoff so I guess it was real.
The only thing that I have left to say is: Yes, they are all phenomenal live and they are super sweet guys. The Plini / Nick Johnston tour may be the best tour of the year. You should not miss this one. The Los Angeles show was something super special way beyond what anyone could have imagined. When I left for L.A. I wasn’t sure what I’d do with this blog. But I know now that it’s time to refocus myself here onto what has always been the most important thing in my life ever since 5 year old me heard Van Halen, Judas Priest, and Iron Maiden for the first time.
I have so much to share with you about my new life and adventures in SoCal. Just you wait until I get back from running PotterVerse. :)
“Should I let my kid go to art / music school or should I force them to study something else?”
I get asked this question probably once a week – minimum.
Some background for those of you just joining us: I do a lot of shit. During the day I am a VP level Project / Product Manager responsible for a long list of art and technology things that you probably use. For example, if you’ve ever used an iPhone, you’ve used something I’ve designed and deployed.
Then I do my third shift, which is seriously studying to be a musician.
I’ve worked professionally in the arts, marketing, finance, mobile telecom, and pharma – all at blisteringly high levels because I don’t know any other way to work. I also professionally wrote and drew a comic for 10 years and worked in animation. One of the big things that I do is I ensure that my events have programs within them that elevate the arts and encourage kids and adults to pursue their Thing.
It’s my Why.
If I didn’t feel strongly about this I’d be using my second shift time to sleep or eat or something. I would probably have bought a house by now.
At my core, I am a performance artist and musician. Always have been.
For example, this is the most “me” that’s ever been captured in a photo. The only thing missing is my guitar:
This is an important element so that you understand what I am going to write next.
Parents come to me for advice when their kids want to study art or music. Some are terrified. Others want me to tell their kid it’s a bad idea. I don’t have a BFA. I have a BA. I didn’t go to art or music school.
I will not tell your kid that it’s a bad idea to study the arts. Sorry. I’ll give your kid real advice that’s based in the actual world. They should be studying both. Why?
Today’s CREATIVE climate is one such that all of us creatives have to be everything. For my comic, I wrote, drew, evangelized sponsors, created social media campaigns, handled my finances, did outreach, and pretty much everything else myself. Same for my events. If you are doing a creative project, you will have to be every department in your own company. Period.
We are all octopi.
We have to be in order to succeed. If you want to be an artist or musician and you suck at Marketing there’s a pretty high chance you are going to fail and not even know why. I am not the best at anything. I’m just really good at some things and Beast Mode Level in Marketing.
You can be the best and still no one will care if you don’t know how to market and manage yourself. Success is still not guaranteed and MONEY is required to make money. So make sure you can do something else to generate funding. Kickstarter and Patreon are a tiny fraction of the guaranteed money I can pull down from a consulting gig. Because I was good at other things, I’m able to support myself and wisely invest in my education and projects such that I can do what I want.
Today’s BUSINESS climate is equally competitive. Why do you think I went from being so broke I couldn’t afford shampoo to where I am today? It’s because I did creative projects after work which gave me the expertise and training that NO COMPANY will give you today. I am VP level and in that entire journey I have never had a company try to nurture my skills. I did that myself because I knew that if I just sat in a cubicle I’d be like that guy in Office Space whining about his red stapler for the rest of my life.
Or worse yet – pretty much every job I’ve had had laid off all of us every 6 months to 2 years. If you are a cubicle jockey, that is just as tough in today’s world. How will you stand out? I stand out because of everything you see on my bio page, and ALL of that was because of the arts. I get raises where others don’t because of my creative capabilities.
The biggest mistake you can do as a parent is to squash your kid’s desires.
Childhood is supposed to be about experimentation. That’s when you have the TIME to DO IT. I work in a field that has literally nothing to do with my BA from Rutgers University. I could have majored in Butt Science and I’d still be where I am because of who I am and the natural drive that I have.
Them: “That’s a strange Butt Science Degree you have there, young lady.”
Me: “But I can manage any project and make you $$$ unlike anyone else. Google what I did on the internet.”
Them: “Hot, damn! Here’s a cash money!”
Today people judge you by what you can do and have done – not by what is written on a piece of paper. I don’t even posses a Project Management certification (PMP) and I make more money than many of the people I know who have that. Why?
Track record of exceeding expectations.
I was at vacation in Disney World one year at the same time a PMP Conference was there. That was a moment of clarity for me when I realized that I basically bypassed that due to achievement and was going to the Magic Kingdom while they were stuck in some dry meetings for the day.
But back on the main topic –
Do you think I have the time in my 30s now to study music seriously? Not really. I give up sleep and a social life to do it because I need to do it or I’ll slowly die. There’s been a hole directly in my chest since I was 5 years old when I first heard Van Halen and Iron Maiden that told me I should be playing music but with no money or support I was stuck sitting in my room hoping that I could afford a guitar when I got older.
Today I am making up for lost time and I am at a terrible disadvantage because I wasn’t given the freedom to experiment as much as I needed as a kid. I didn’t let go of the anger about this until I was 28.
The hole is still there. It’s still trying to kill me unless I play music. This is who I am. People trying to direct me into other careers meant well, but ultimately caused a pretty severe disservice to my development.
My advice is to always nurture interests, no matter how impractical they may seem. In my experience, those things tend to propel whatever you end up doing forward because the default position in life is to be a sack of flesh eating a Lean Cuisine in a cubicle that’s dripping water from the ceiling while Judy in Accounting is explaining the color of her baby’s poop to you.
Anything different won’t be necessarily accepted. I’ve never been a woman who “fit in”. The key is – if you leverage it properly you’ll out perform and out earn everyone else and it’s all because of the arts.
We dismiss the impact of the arts and we are jackasses for doing so:
America’s dismissal of the arts in general has created a lot of boring people who can’t think their way out of a paper bag. It’s basically a slave class of workers that companies use as flesh cogs in a disposable and replaceable machine. There is no longevity at any company anymore. My longest corporate gig was 2 years before yet another merger had us all on unemployment due to no fault of our own.
Let your kids experiment. Let them be themselves. You can’t stamp it out no matter how hard you try. My devotion to music is a perfect example of that. Experimentation is the key to finding out who you really are. I worked in animation for Disney and found that it wasn’t my dream just like I worked in comics and discovered the same. The key thing is that I got to try it and got it out of my system so that I knew what WAS my dream and could focus on that. I should have been able to figure this out when I was 20, but I didn’t have the exposure to it that I needed to make that decision.
Sorry, but it’s highly unlikely that anyone knows what they are doing at age 18. Technology changes so fast now that it’s kinda impossible. My job didn’t even exist when I was in college.
Tell your kids to study the arts, but also make sure the school they go to prepares them to market themselves such that they can manage things and support themselves no matter what happens in the future. Failing that, make sure that they can study the arts on their own time because nobody needs a diploma to play music or draw things. They just need enough of whatever it is that they need (usually exposure to concepts, support, and industry knowledge) to prepare them for the future.
The biggest stupidity I’ve ever seen is how America separates the arts from academics. Rutgers University actually prevented me from taking creative classes since I was enrolled in their main school. Some creative schools really fail at preparing their students for the real world octopi approach and produce proficient creatives that have no idea how to get and hold down a job.
You can and should do both because both of these things are critical to survival in today’s real world. Discouraging someone from pursuing an interest is about as stupid as trying to hold your coffee cup with your buttcrack.
It never works and just causes inflammation that results in lost sleep and a lower quality of life in their 30s when they finally have the money to buy a guitar and a few lessons.