Podcast appearances and mentions of Thomas Kinkade

Episode 41 of the famous Chasmosaurs Podcast is here, and it's a bittersweet one. Today's episode is a tribute to the recently departed Czech palaeoartist Jan Sovák (1953 - 2025) and his frankly ginormous body of work. So ginormous in fact, that we just had to dedicate an entire episode to him. But there's more to talk about. For one thing, there's the new Walking With Dinosaurs series, which we refuse to review in this episode! Also, there's a whole bunch of other palaeomedia coming, as well! Why don't the English know about Jan Sovák? Did the keen olfactory sense of tyrannosaurs evolve to smell the flowers? Will Natee ever live down that time when they started comparing people to Thomas Kinkade? And who will bring the popcorn? Join us as we give you our monthly roundup, and as we dive deep into the life and works of one of Europe's finest dinosaur artists.   Show Notes At Chasmosaurs.com!

Mayor Bass issues executive order meant to slow runaway film and TV production. It’s part of broader efforts in Sacramento with the same goal. Is it too little, too late? Trump’s DOJ intervenes in excessive force case against LASD deputy convicted of restraining, pepper-spraying innocent woman New documentary ‘Art for Everybody’ charts painter Thomas Kinkade’s journey from brooding work to mass-producing ‘feel-good’ kitsch   

This week on the Erotic Thriller Club it's our bi queen Kit's birthday so we're revisiting an important movie from her own coming of age tale! Is it an erotic thriller? Debatable... We're talking God's loophole, a killer soundtrack, and for some reason a lot of Thomas Kinkade. Please join us in a celebrating both our lovely cohost and this horny teen classic!

[@4 min] Alright, this week...friend of the show Andrew Jorgensen returns to take a Free Throw on the upcoming Opera Theatre of St Louis festival season. You'll be shocked to find out which of the four productions he is looking forward to the most... [@16 min] And then…we exercise our opera snob muscles and discuss what makes an opera high art, like Wagner's Ring Cycle, or pop garbage, like Charpentier's Louise. [@32 min] Plus, in the ‘Two Minute Drill'…Jacksonville University decides that the arts aren't important, Carolina Opera gets sued, but at least Kennedy Center believes in the red, white, and blue… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

Looking back at the first round of the Culture Wars, with Jesse Helms discussing a crucifix submerged in urine on the floor of the senate, one figure remains misunderstood: Thomas Kinkade. The "Painter of Light." The guy your alcoholic grandmother who would never admit she terrorized you really loved. Kinkade's career combines the worst of American culture -- multi-level marketing schemes, Jesus Christ kitsch, and televangelism -- into one product. Jessa and Nico discuss Art for Everybody, the new documentary seeking to rehabilitate Kinkade's image, and whether if Kinkade were alive today he would be appointed the new head of the NEA or Kennedy Center (yes).  Shownotes and references: http://theculturewedeserve.substack.com

EP#727: Bryan & Krissy discuss the research showing that friends who roast each other are more likely to stay close! Bryan is reminded of his friend Rafa and Rafa's constant ribbing of Bryan about a fight that never happened. It was a knife and Bryan got scared. Then Bryan laments the rise of "Student Driver" stickers in Atlanta. Not aware he may well be a "Student Podcaster"! Plus, the Thomas Kinkade doc no person has asked for is getting Bryan SUPER excited....have no idea why! Watch EP #727 on YouTube! Text us or leave us a voicemail: +1 (212) 433-3TCB FOLLOW US: Instagram:  @thecommercialbreak Youtube: youtube.com/thecommercialbreak TikTok: @tcbpodcast Website: www.tcbpodcast.com CREDITS: Hosts: Bryan Green & Krissy Hoadley Executive Producer: Bryan Green Producer: Astrid B. Green Voice Over: Rachel McGrath TCBits Written, Voiced and Produced by Bryan Green To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Hoy Pablo Ortiz de Zárate nos cuenta la historia de Thomas Kinkade, un pintor estadounidense famoso por sus paisajes bucólicos. Y es que a pesar de ser duramente criticado por expertos, se convirtió en millonario vendiendo copias de sus obras. El artesano nos explica su polémico modelo de negocio y su imagen de "artista cristiano".

This week Erin is taking advantage of Canada's socialized medicine with pills that are going to give her nightmares, and is pulled over by the VPD AGAIN! We go on a deep dive on Thomas Kinkade, Painter of Light, and Bryan recalls the making of his album Heels. Bryan advises us about which states are passing legislation against displaying Pride flags in schools and government buildings. Erin examines a post-mortem election study from Democratic pollster David Shor giving examples of the widening gender gap in voters, such as how 18 year old men were 23 percentage points more likely to support Trump versus 18 year old women. For this week's bonus Dateline Recap visit www.patreon.com/attitudesSee omnystudio.com/listener for privacy information.

Since its release in 1982, “The Artist's Guide to Sketching” has become a classic art guide for students and laypeople around the world. The book includes instruction and artwork by James Gurney and Thomas Kinkade - two students who would go on to fame with “Dinotopia” (Gurney) and as the “Painter of Light” (Kinkade).Now there is a bold new edition of the groundbreaking book, freshly updated with a new introduction, archival photographs, and illuminating text to guide a new generation of illustrators.

On this weeks episode The Gas Boys show off their drastic improvements to the Gas Station, learn about all the things Gavin has been "finding", explore the artwork of Thomas Kinkade, talk about the Ball family's current activities, watch a video of a guy eating an expensive work of "art", and discuss the best ways to keep people from leaving casinos.YouTube: https://www.youtube.com/channel/UC_O0Lqwxpxk6m9N3QDLcS2QInstagram: @gasboyspodcast

Joining the podcast (Episode 305) today is the esteemed painter, illustrator and writer James Gurney. Michael Clawson chats with James about his long career in art and illustration, including his experiences with dinosaurs for his famous Dinotopia series and also his work on the Frank Frazetta film Fire and Ice. James also discusses the rerelease of his 1982 drawing book, The Artist's Guide to Sketching, which he wrote with painter Thomas Kinkade. The book will come out in February 2025. James is also a contributor and columnist in one of magazine titles, International Artist. Learn more at internationalartist.com.

Robert and Randy conclude the story of Thomas Kincade by talking about the massive fraud he committed and also some sex crimes. Behind the Bastards is now available on YouTube! New videos every Wednesday and Friday. (Backlog episodes on Saturdays until we catch up) Subscribe to our channel: Youtube.com/@behindthebastards  Sources: https://archive.is/Exc9H#selection-1601.0-1605.107 https://mbird.com/art/the-drunken-downfall-and-death-of-thomas-kinkade/ https://www.patheos.com/blogs/cultivare/2012/05/the-dark-light-of-thomas-kinkade/ https://www.huffpost.com/entry/painter-of-light-thomas-k_n_16801 https://www.latimes.com/archives/la-xpm-2006-mar-05-fi-kinkade5-story.html https://www.theguardian.com/world/2006/mar/25/arts.artsnews https://archive.is/DJgOU#selection-1229.0-1233.162 https://www.latimes.com/la-xpm-2012-apr-08-la-me-thomas-kinkade-20120408-story.html https://www.salon.com/2012/04/09/thomas_kinkade_the_george_w_bush_of_art/ https://www.salon.com/2002/03/18/light_4/ https://medium.com/@scottproposki/remembering-thomas-kinkade-and-learning-from-his-meteoric-rise-7dafbf3476d6 https://www.susanorlean.com/articles/art_for_everybody.php https://www.salon.com/2002/03/18/kinkade_village/ https://www.degruyter.com/foxyCartCheckout?fcsid=h6o7rl8tvhra7lcqcmokpsq5ar  https://hereswhatsleft.typepad.com/home/2004/12/conservative_ar.html https://news.artnet.com/art-world/brexit-art-preference-study-1368613 https://medium.com/@baudart1965/thomas-kinkade-paintings-not-worth-much-if-anything-because-of-oversaturation-d298f1661b1e https://www.bloomberg.com/news/articles/2013-08-29/science-explains-why-it-s-so-easy-to-hate-painter-of-light-thomas-kinkade https://www.newyorker.com/culture/culture-desk/thomas-kinkade-death-of-a-kitsch-master https://www.theguardian.com/theguardian/1999/jul/12/features11.g22See omnystudio.com/listener for privacy information.

Robert sits back down with Randy Milholland to discuss Thomas Kinkade, the most financially successful American artist and con-man.See omnystudio.com/listener for privacy information.

Burning Man culture brings people together across all kinds of divides. Yet, we're seeing an uptick of intolerance around art and experiences in our community. The default world is often divided by ideology, religion, and politics. Could that division seep into this culture that aspires to welcome everyone and rise above social schisms?As a community, how can we navigate the turbulent waters between, say, Radical Self-expression and Radical Inclusion? How do we walk the line between free speech and hate speech? How do we keep our global community together in times of outright war?Tune into a roundtable discussion about concerns that don't have easy solutions. Four thinkers in the Burning Man global cultural movement explore how the act of conversation changes what might otherwise seem controversial or divisive:• Stuart Mangrum is Burning Man Project's Director of the Philosophical Center so he directed some philosophers to center around a microphone to discuss.• Caveat Magister debated and discussed Burning Man philosophy, then wrote books about it.• Kay Morrison is a veteran Black Rock City artist, active in the Global Network, and a Burning Man Project board member.• Steven Raspa is Associate Director of Community Events for Burning Man Project, and a co-founder of the Regional Network Committee.This conversation concerns art, yes, and behavior — as participants, as people. It's about being open-minded and open-hearted, even when it's difficult to do. What is a safe space? What is a brave space? How can jackassery be respectful? What's with all the questions? Tune in for the answers that lead to more questions.burningman.org/about/10-principlesTurn Your Life Into Art with Caveat Magister (Burning Man LIVE)Kay Morrison and the Overall Wonderment Quotient (Burning Man LIVE)Remember How to Burning Man with Steven Raspa (Burning Man LIVE)Stuart Mangrum's Serious Philosophy of Shenanigans (Burning Man LIVE) LIVE.BURNINGMAN.ORG

Dave is revisiting some of his favorite episodes and interviews for his ‘Best of Dave Chang Show' series. In this episode, Pulitzer Prize-winning art critic, beloved 'Dave Chang Show' guest, and 'Art is Life' author Jerry Saltz returns to survey the state of art and food in 2022, and deliver a bracing dose of motivation to Dave, Chris, and anyone else out there embarking on a potentially terrifying creative endeavor. Also: ancient DNA, private psyches, Chris Ofili, Laurie Anderson, zombie formalism, the end of linear time, dirty shamans, Jasper Johns, caveman cooking, F. Murray Abraham, Ai Weiwei, 'The Raft of the Medusa,' Dolly Parton, fighting your demons, Neal Brennan, Thomas Kinkade, art vs. craftsmanship, Cy Twombly, Jason Polan, and a Coen Brothers debate. Hosts: Dave Chang and Chris Ying Guest: Jerry Saltz Producers: Sasha Ashall, Jordan Bass, and Victoria Valencia Learn more about your ad choices. Visit podcastchoices.com/adchoices

Join us as we sip another great cocktail from out Summer of Cocktails lineup, From Peachy With Love. Check out the specs below, mix one up, and sip along with us as we discuss our referred summer footwear, Kyle's hobbit feet, flipflop blowouts, the perfect use for flavored whiskey, Haruki Murakami's Novelist as a Vocation, what exactly is originality, freaking out in a concert hall, understanding of originality comes from experience, the three basic requirements to be an original, Billie Eilish, Dave Grohl, Daft Punk, Caravaggio, Tarantino, Tim Burton, Bob Ross, Thomas Kinkade, 90s bands, and original Drep art.  From Peachy with Love: 3 oz grapefruit juice 1.5 oz of peach whiskey .25 oz simple syrup .50 oz lime juice Dash of sea salt Throw all ingredients into a shaker and do your thing. Garnish with rosemary sprig and float a tiny bit of the peach whiskey on top Flaviar.com Promo Code: DSP10 for $10 off RationAle Promo Code: WELCOME25- 25% discount on an order of 2 or more 6 packs! Support Us On Patreon: https://www.patreon.com/DrepandStone We'd love to hear from you! https://linktr.ee/DrepandStone Don't forget to subscribe! Music by @joakimkarudmusic Episode #248

Live from The Firekeep, Brian and Cargill battle an army of subhumans, imposter syndrome, and Thomas Kinkade as they discuss the epic Bakshi/Frazetta team-up: Fire and Ice! This one's for you, Walt.Darkwolf demands your support on Patreon! 

EPISODE 107 | Traces of Reality: Abstract Art and the CIA (World Is Weird 13) Guest: Mandy Theis, founder and director of the School of Atelier Arts, academic director and professor at the Florence Academy of Art Maybe you've walked into a museum or gallery and seen a big white, blank canvas, or a huge circle, and thought, "So, this is art, eh?". But why is there so much of this abstract stuff around? The answer might be surprising - because the CIA promoted it as part of the Cold War. And then it rather got away from them. Today, the art market is the most unregulated in the world, and aesthetics and skill take a back seat to branding.  Like what we do? Then buy us a beer or three via our page on Buy Me a Coffee. #ConspiracyClearinghouse #sharingiscaring #donations #support #buymeacoffee You can also SUBSCRIBE to this podcast. Review us here or on IMDb! SECTIONS 02:31 - Atelier training, the CIA begins, the cultural Cold War was run by elitists, Julia Child, Realism gets rebranded as Communist, the Springville Museum of Art in Utah, cadmium red as protest, dry brushing technique, techniques follow money, skill list art, technical skills are being lost 12:30 - Social Realism, Czech Functionalism and German Bauhaus, Cubist architecture, art is always in motion, Russians tweaked French Realism, Abstract art eclipses realism, a war of aesthetics and marketing, the French discount the Americans, America pushes Abstract Expressionism, Marshall Plan money becomes a black bag, the Congress of Cultural Freedom, Clement Greenberg, Art criticism as marketing 23:18 - the NCL (Non-Communist Left), Jackson Pollack was a CIA tool, American racial attitudes work against them 28:24 - Abstract Expressionism promoted as ultimate American style because it has no inherent meaning, it's safe; Picasso had atelier training, Truman hated abstract art ("ham and egg men"), George Dondero goes nuts about abstract art on the House floor, Realism is not retrograde, we are losing the artistic skills to make beautiful things 36:06 - the CIA's efforts were very successful, the modern art market is the most unregulated in the world, technique gets separated from art so it all becomes about money, everything is branded,  Warhol critiques all this, fine art feels remote from most of us, the art world is a closed circuit, Thomas Kinkade was successful because at least his work meant something to some people, scribbles are scribbles but branding makes them art 47:51 - Don't know if it's art, but I like it; Realism is still villainized  Music by Fanette Ronjat More Info:  The School of Atelier Arts website Bodyguard of Lies: The Ghost Army & Wartime Deception (World Is Weird 11) The Cultural Cold War: The CIA and the World of Arts and Letters by Frances Stonor Saunders Springville Museum of Art -  largest public collection of 20th century Russian and Soviet art in the western United States 15 things to know about Norman Rockwell Why Norman Rockwell Matters Ralph McQuarrie: Star Wars' Concept Artist A Visit to the CIA's “Secret” Abstract Art Collection Was Modern Art Really a CIA Psy-Op? Class 8. The CIA and the Cultural Cold War Origins of the Congress of Cultural Freedom, 1949-50 Cultural Cold War on CIA.gov WHEN FREEDOM TOOK THE OFFENSIVE: The Congress for Cultural Freedom and the Power of Ideas Congress for Cultural Freedom on Spartacus Educational  Cold Warrior: The Clement Greenberg Phenomenon CIA Weaponizing Abstract Art and Its Fallout The use of American art in the Cold War How MoMA and the CIA Conspired to Use Unwitting Artists to Promote American Propaganda During the Cold War Ford Foundation - Funding transatlantic exchange between the arts and politics The Ford Foundation and the CIA: A documented case of philanthropic collaboration with the Secret Police Modern art was CIA 'weapon' How the CIA Secretly Used Jackson Pollock & Other Abstract Expressionists to Fight the Cold War Was modern art a weapon of the CIA? Jackson Pollock & the CIA on The Conspiracy of Art website Why did the CIA sponsor Jackson Pollock? Pollock is Bollocks Pollock: genius or charlatan? Jackson Pollock: Separating Man from Myth Viewpoint: Why racism in US is worse than in Europe - BBC Viewpoint “They treated us royally”? Black Americans in Britain during WW2 Why abstract art is not valid Abstract Art Is Not Art and Definitely Not Abstract The Tyranny of Abstract Art in The Atlantic Communist conspiracy in art threatens American museums, Congressional Record, March, 17, 1952 Anticommunism and Modern Art - selection from the George Dondero Papers THE SUPPRESSION OF ART IN THE MCCARTHY DECADE The Shame of the Mural Censors — Why Art and History Matter Between Avant-Garde and Kitsch: Deconstructing Art And/As Ideology on Project MUSE Modern American Art and the Politics of Cultural Diplomacy Abstract Expressionism and the Cold War 'The art trade is the last major unregulated market' A Fascinating, Sexy, Intellectually Compelling, Unregulated Global Market. - Freakonomics ep. 484 The Art Market: Unregulated Unscrupulous And Worth Billions High-end art is one of the most manipulated markets in the world THE ART MARKET: AFFLUENCE AND DEGRADATION on Art Forum Billion Dollar Painter: The Triumph and Tragedy of Thomas Kinkade, Painter of Light book Thomas Kinkade: A Success - 60 Minutes Thomas Kinkade: The Painter Art Critics Hated but America Loved Much to the Chagrin of the Art Establishment, the Numbers Indicate that Thomas Kinkade Is the Most Successful and Relevant Artist in Human History Thomas Kinkade Was the World's Biggest Selling Painter. Art for Everybody Asks Why Follow us on social: Facebook Twitter Other Podcasts by Derek DeWitt DIGITAL SIGNAGE DONE RIGHT - Winner of a 2022 Gold Quill Award, 2022 Gold MarCom Award, 2021 AVA Digital Award Gold, 2021 Silver Davey Award, 2020 Communicator Award of Excellence, and on numerous top 10 podcast lists.  PRAGUE TIMES - A city is more than just a location - it's a kaleidoscope of history, places, people and trends. This podcast looks at Prague, in the center of Europe, from a number of perspectives, including what it is now, what is has been and where it's going. It's Prague THEN, Prague NOW, Prague LATER

Yes we're DOING IT! You've seen his work on mugs, greeting cards, blankets, puzzles, socks and pretty much any commodity you can buy. I mean… I really wouldn't be surprised to see a TK dildo out there in a store one of these days… Yes this man entered the art world armed with a shrewd business sense in one hand, and a bible in the other… and though I'm sure he wanted us to forget that his back pockets carried pills, flasks, and dollar bills for strippers… we just couldn't leave those stones unturned! Join us for this one, it will be fun!As always, with love!XoxoThe Baroque Bitches 

Join us as we get real "mancho" in the warm colors of Bob's Barn At Sunset on this episode of Nothing But A Bob Thang! Nathan's latest album: https://open.spotify.com/album/77cOtx2FD3mIUcZTRx6aQK?si=3cVHHJrwQLOm3yXgRVoCKw Justin's latest album: https://open.spotify.com/album/0jO0czHeHxLGPrEafCe0HH?si=GA9C391MTb2gF3ZTgaeAAA Send us your Thomas Kinkade hate! --- Send in a voice message: https://podcasters.spotify.com/pod/show/nothing-but-a-bob-thang/message Support this podcast: https://podcasters.spotify.com/pod/show/nothing-but-a-bob-thang/support

Glen and Psi return from vacation to talk about the Burger King jingle, Ozempic, Northern California legend Thomas Kinkade, Bragg Apple Cider Vinegar Controversy, and much more For Premium Episodes including Gain of Fiction, Coast to Coast, The Glen Word, and exclusive solo episodes, become a paid subscriber of our substack https://rarecandy.substack.com/ Buy some merch https://rare-candy-industries.myshopify.com/ Rare Candy on Apple, Spotify, X, and Instagram https://beacons.ai/rarecandy

This holiday season, discover another side to “The Painter of Light”!  In our final installment of "Live from Hot Springs Documentary Film Festival", Miranda Yousef joins Mike to discuss her feature documentary, “Art for Everybody”.  From an early age, Thomas Kinkade struggled with the impact of his impoverished youth, torn between emulating van Gogh's critical regard and seeking the economic success of a Norman Rockwell or Walt Disney.  As Yousef explains, turning himself into a successful brand cost Kinkade dearly, and in the thousands of “unpublished” works that he left behind, we can sometimes glimpse revealing aspects of Kinkade as an artist as well as a living, breathing human with a multi-faceted personality.   While firmly grounded in her subject, Yousef's film manages to go well beyond the life and oeuvre of this one individual to ask questions about the nature of art:  Is it meant only to “talk to” other art, to problematize representation, or can it also properly provide joy and even comfort?  And her film may ultimately be read as a plea that no matter what value we place on Kinkade's art, that we not hold disdain for those who appreciate it differently.   Follow: @artforeverybody on Instagram @topdocspod on Instagram and twitter   The Presenting Sponsor of "Top Docs" is Netflix.

"You're supposed to be the leading lady in your own life, for God's sake!" We watched "The Holiday" (2006) with our friend Michael Morgan and we've got a rustic English cottage available if anyone wants to swap houses.  Does this Christmas themed, Nancy Meyers directed rom-com really need to be over two full hours? If you're into cottage-core and mid-aughts Jude Law then the answer is a resounding YES. Maybe this movie is a bit over-long, but our four leads Kate Winslet, Cameron Diaz, Jack Black and Law are charming and Meyers gifted us with a movie house we've been lusting after since we first laid eyes on it. Kate Winslet's Iris lives at the fictional "Rosehill Cottage" and not since "Practical Magic" have we been so enthralled by a fictional location, even though this one looks like it sprung from the mind of Thomas Kinkade. The premise of The Holiday might stretch our abililty to suspend our disbelief but we don't care! This movie is a comfort watch and we'll carve out that 2 hours and 16 minutes every year to get carried away to sprint through the English countryside (in stilettos) with Cam and Jude and bask in the warm Santa Ana winds of Los Angeles with Kate and Jack.  Thanks for listening and don't forget to subscribe, rate and review us on Apple Podcasts! www.patreon.com/moviesthatmadeusgay Facebook/Instagram: @moviesthatmadeusgay Twitter: @MTMUGPod Scott Youngbauer: Twitter @oscarscott / Instagram @scottyoungballer Peter Lozano: Twitter/Instagram @peterlasagna

In this episode, Rivers and Carter are hunkered down in Disgraceland Studios and they've just thrown another yule log on the fire to make things nice and cozy for another HOLIDAY SPECTACULAR episode. Joining them on this magic sleigh ride are three AMAZING guests: comedians Matt Brousseau and Keith Carey and artist and all-around hilarious person, Jordan Williams! We kick this one off by chugging a Ghostbusters-themed energy drink from Oxyshred. Then we talk about the insanely debauched life and untimely death of the most famous Christmas artist, Thomas Kinkade. We also talk about the worst gifts ever shared by folks on Reddit. Wham!'s "Last Christmas" is our JAM OF THE WEEK. Give us a listen. Ho! Ho! Ho!  Music at the end is a cover of John Prine's "Christmas in Prison" performed by Deer Tick.  Follow Matt Brousseau on Instagram @CapitalCityInc. Follow Keith on Instagram @KeithTellsJokes. Follow Jordan on Instagram @TheGooneyBird and buy some art @GooneyBirdCrafts on Instagram and Etsy.  Follow the show on Twitter @TheGoodsPod.  Rivers is @RiversLangley  Sam is @SlamHarter  Carter is @Carter_Glascock  Subscribe on Patreon for HOURS of bonus content! http://patreon.com/TheGoodsPod Pick up a Goods from the Woods t-shirt at: http://prowrestlingtees.com/TheGoodsPod

Ho ho ho!! We Three Queens arrive to you with our hearts full of cheer and our sleigh stocked with the greatest gift of all … knowledge!! In our very first Christmas special, we discuss the visual language of the holiday season, from the scourge of minimalist Christmas decor to the history of department store spectacles. Joined by ghosts of Christmas Past, including the original Coca-Cola-sanctioned Santa Claus, Thomas Kinkade, and Jack Skellington, we also make our predictions for theoretical Christmas aesthetics to come. Image boardKim Kardashian's Minimalist Christmas DecorMinimalist Nativity SetsThomas Kinkade's Christmas ArtJoan Didion on Thomas KinkadeA History of the Department Store – BBCHistory of Christmas CatalogsSanta's New York Roots – NYPLChristmas Drawings for the Human Race (1890) – Thomas NastHaddon Sundblom and the Coca-Cola SantasWhy Hollywood films, Christmas music and jazz are so intertwined – Jazz FMBrenda Lee's Comeback – New York TimesVogue's Christmas Archive

Ho ho ho!! We Three Queens arrive to you with our hearts full of cheer and our sleigh stocked with the greatest gift of all … knowledge!! In our very first Christmas special, we discuss the visual language of the holiday season, from the scourge of minimalist Christmas decor to the history of department store spectacles. Joined by ghosts of Christmas Past, including the original Coca-Cola-sanctioned Santa Claus, Thomas Kinkade, and Jack Skellington, we also make our predictions for theoretical Christmas aesthetics to come.Image boardKim Kardashian's Minimalist Christmas DecorMinimalist Nativity SetsThomas Kinkade's Christmas ArtJoan Didion on Thomas KinkadeA History of the Department Store – BBCHistory of Christmas CatalogsSanta's New York Roots – NYPLChristmas Drawings for the Human Race (1890) – Thomas NastHaddon Sundblom and the Coca-Cola SantasWhy Hollywood films, Christmas music and jazz are so intertwined – Jazz FMBrenda Lee's Comeback – New York TimesVogue's Christmas Archive This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.nymphetalumni.com/subscribe

Director Miranda Yousef discusses her new film, Art For Everybody, with fellow director Ondi Timoner in a Q&A at the DGA theater in Los Angeles. In the conversation, Yousef discusses working with a vast array of archival material, navigating the true identity of Kinkade through accounts from friends and family, and applying her skills and expertise as an Editor in her debut as a feature-length documentary filmmaker. The film delivers a portrait of Thomas Kinkade, a complex man both celebrated and disparaged for his kitschy art style- and secretly plagued by demons. Following the discovery of a collection of unexpectedly dark paintings, an investigation is launched into the true personality under Kinkade's façade. See photos and a summary of this event below: https://www.dga.org/Events/2023/July2023/Art4Everybody_DocSeries_0523.aspx

He was hailed as “The Painter of Light,” a titan of pastoral landscapes which glowed whimsically from the windows of malls and Disney stores across America in the 1990s. But inside Thomas Kinkade, the famed born-again Christian artist behind one of the most commercially successful art entities ever created, lurked a darkness even he couldn't cover with layers of shining lacquer. His tragic story of worker exploitation, belligerent self-destruction, and nostalgia gone awry was carefully hidden behind a wall of corporate money for decades but emerged from the shadows after Kinkade's sudden and unexpected death back in 2012. It's a piece of forgotten American art history so bent Teams Edward and Kimberly had to drop their monthly storytelling competition and join forces to share it with y'all correctly. If you've ever felt disillusioned with The American Dream, skeptical about so-called “Christian artists,” or creeped out by those relentlessly-cheery Christmas villages glowing in Hallmark stores every winter, hit play and listen as the veneer dissolves into truth far stranger than fiction. Featuring original music by Sergio Gonzalez Pagan.Support the show

Join your tour guides Justin Clark, Beatrice Denis and Holly Wood Crawford as they sneak a peek in the vault on Main Street to talk about some of their favorite pieces of Disney artwork.  Plus Legos in theme park form, Thomas Kinkade for Christmas, the voice of Belle is an amazing artist, oil paintings vs prints and more! Follow us on Facebook at Grand Circle Tour Magic Ticket Holders for live shows every Thursday night, on Instagram at https://www.instagram.com/grandcircletourpodcast/  and YouTube at https://www.youtube.com/@grandcircletour The Grand Circle Tour Podcast is in no way part of, endorsed or authorized by, or affiliated with the Walt Disney Company or its affiliates. As to Disney artwork/properties: © Disney. Disclosure | Privacy Policy

BEST CHRISTMAS ALE EVER!? Ohio brews, beer/liquor globe accessory, Thomas Kinkade, Bob Ross, & much more!!

In this episode, Krista Eckhoff joins David Kramer to discuss famous estate disputes, including Robin Williams, Prince, Martin Luther King Jr., Thomas Kinkade, and Joan Crawford, and the lessons learned from those estates. Tune in for some interesting stories and tips for your own estate planning.

Pulitzer Prize–winning art critic, beloved 'Dave Chang Show' guest, and 'Art Is Life' author Jerry Saltz returns to the show to survey the state of art and food in 2022, and to deliver a bracing dose of motivation to Dave, Chris, and anyone else out there embarking on a potentially terrifying creative endeavor. Also: ancient DNA, private psyches, Chris Ofili, Laurie Anderson, zombie formalism, the end of linear time, dirty shamans, Jasper Johns, caveman cooking, F. Murray Abraham, Ai Weiwei, "The Raft of the Medusa," Dolly Parton, fighting your demons, Neal Brennan, Thomas Kinkade, art vs. craftsmanship, Cy Twombly, Jason Polan, and a Coen Brothers debate. Hosts: Dave Chang and Chris Ying Guest: Jerry Saltz Producers: Sasha Ashall and Jordan Bass Learn more about your ad choices. Visit podcastchoices.com/adchoices

We have *limited edition* holiday merch up in our store, including ugly Christmas sweater designs, Hanukkah puns, and winter gags! It's only available for the month of December. Today, we're kicking off our holiday episodes with SEASON OF LOVE by Helena Greer, a sapphic, Jewish, Hallmark Christmas movie of a romance that ticked all the boxes we didn't even know we had. Miriam and Noelle spend the book working to save the Christmas tree farm Miriam's great aunt and Noelle's mentor, Cass, left them. Helena really knows her Hallmark Christmas movie tropes, and she gives you them all with a twist. We have big city girl returns to her small town, we have sleigh rides, we have quirky townsfolk, we have a town literally called Advent. Enjoy the show as much as we enjoyed this book!   Brazen banter: Cat cameos galore! Thomas Kinkade! Butch lesbian TikToks!  Cat Scale: 5.5   Revolutionary Resources

The quartet behind 'Black Power Kitchen', the first book from Ghetto Gastro, sit down in the studio with Dave and Chris to discuss the long road from the Bronx, and the power of breaking bread. Also: Dave's lost cookbook collection, Clive Cussler, Thomas Kinkade, comic-con for food nerds, the pan-African pantry, takoyaki and conch fritters, chili-lime liberation, Chino-Latino cuisine, the corn pancakes at Rosetta, St. Lucia saltfish, Jamaican curry, and Hailey Bieber sea-moss smoothies. Hosts: Dave Chang and Chris Ying Guests: Jon Gray, Pierre Serrao, Lester Walker, and Osayi Endolyn Producers: Sasha Ashall, Jordan Bass, and Aleya Zenieris Learn more about your ad choices. Visit podcastchoices.com/adchoices

Website https://www.jerrelwolfe.com/ Poetic Perspectives brings to parchment two decades of this author's finest poetry. Deemed the Thomas Kinkade of poetry, Wolfe pens to paper words, thoughts, ponderings, history, personal experiences, patriotism, love, and loss. He clearly expresses delight in his rhyming verse and subject matter. You will experience his artistic vision and be amazed at the brushstrokes provided by his mental mastery of life's precious moments. He will capture you and hold you in his grasp, bringing forth a tear, a smile, a deeper thought, and an awakening to some of the more important things in life. This book is the perfect gift for any man or woman. Experience the themes of romance, adventure, love, the human spirit, and the richer meaning of life. Immerse yourself in this work inspired by a higher power, and know that your soul will be touched in a way no other book has accomplished. Wolfe will touch you in a special way with his mastery of penmanship from conception to death and a myriad of life experiences you will experience along your way.    

Subscribe to Reactionary Minds: Apple Podcasts | Spotify | Google Podcasts | YouTubeReactionary Minds is a project of The UnPopulist. Hosted by Aaron Ross Powell. Produced by Landry Ayres.The following is a transcript of Reactionary Minds’ interview with Virginia Postrel, author of many books, including The Future and Its Enemies. The transcript has been lightly edited for flow and clarity.Aaron Ross Powell: I’m Aaron Ross Powell, and this is Reactionary Minds, a project of The UnPopulist. We’re used to thinking about politics as a battle between left and right, progressive and conservative. But those sides can be somewhat protean, with their positions, preferences and policies shifting in ways that make it difficult to analyze the political landscape clearly.My guest today has a different way of framing politics—one she first set out 24 years ago, and one which looks more and more prescient with every passing day. Virginia Postrel is the author of many books, including The Future and Its Enemies. Her latest is the Fabric of Civilization. The core of Postrel’s framework for understanding politics isn’t left versus right, but dynamism versus stasis.Aaron Ross Powell: What does it mean to be a “stasist,” to use your term?Virginia Postrel: What I say in The Future and Its Enemies when I’m just laying out the basic distinctions is that dynamists, which is people like me, have a central value of learning. We can talk about that later, but the contrast is important, and stasists come in a couple of varieties, but their central value is stability or control.Then I divide them into what I call reactionaries, which are the people who are more into keeping things literally the same, not necessarily the status quo. It could be going back to some imagined past or creating some utopia, but the idea of a stable society. Then technocrats, who are much more common in liberal democratic societies, who say, well, we want progress—we want things to change—but it’s got to look exactly like this. Very much an early 20th-century idea of control and planning the future, so that progress becomes something not that evolves, but that is dictated.Aaron: When you say early 20th century and the rise of the technocratic position, is that because something new happened in the 20th century, or is it because prior to the 20th century, stasis won out because we weren’t moving very quickly anyway?Virginia: That’s a very good question—not one that I really thought about when I was writing this book many years ago. But I think what happened was the rise of large business enterprises, railroads and huge manufacturing corporations, vertically integrated enterprises where you had to have a range of control to operate the business. That all happened really beginning of the 19th century, where you had these much larger organizations than had existed before.They were very successful, and people developed new and genuinely innovative and efficient ways of doing things. And that led to an idea that if you can do this at U.S. Steel or General Motors, you should be able to do it for the whole society— that, in fact, because they were run by the profit motive, these enterprises maybe were a little inefficient and wasteful and duplicative (competition was seen as wasteful and duplicative). And so that you could do something about that [inefficiency] if you could plan the society in general. There are many forms of this in the early 20th century.Obviously, you have the full-blown state socialism, state ownership of the means of production, with extreme versions in places like the Soviet Union. But there were also much more democracy-friendly versions associated with Thorstein Veblen, who’s famous for The Theory of the Leisure Class, but who also wrote a book whose title escapes me at the moment where he contrasted the good engineers with the bad financiers. The idea was that if you could just set engineering principles loose on society, you could have a much more efficient and productive society. That idea was in the air, and it came out of real business innovation that just got applied in ways that didn’t work.One of the things that’s interesting about the history of liberalism is that before Friedrich Hayek’s writing on “the use of knowledge in society” and the whole socialist calculation debate—and I don't want to get into the weeds of that—what was wrong with that theory of control wasn’t obvious. A lot of people who were basically liberal became very attracted to socialism because it seemed like a way of improving the lot of people and extending the liberal contract in certain ways.The idea that it was replacing local knowledge and even the knowledge of individual preferences with some necessarily dictatorial—even if it was being done in a democratic way—process was not obvious in 1900. It was not well articulated. I think there were people who understood it intuitively, but it had not really been fully grasped.Aaron: That raises an interesting distinction, I think, within stasism, as opposed to dynamism. What you’ve just described is an awfully let’s call it ideological or philosophical argument for stasis. You had these arguments about the way a firm runs, and we can analogize that out, and we can manage progress and so on. That’s like an intellectual approach. But a lot of stasis seems to be more of almost an aesthetic approach. So you get people like Wendell Berry—or Josh Hawley in some of his earlier, pre-political career writings is almost making an argument that the ideal America is one that always and forever looks like a Thomas Kinkade painting. Or that modern architecture is bad and what we really need is the return of the aesthetics of the Catholic church to rule us. Are these distinct things, or do they bleed together?Virginia: They are distinct things, and historically they’re distinct things because they’re very different reactions to what’s called the second industrial revolution. That is the rise of these really large enterprises, railroads being that quintessential one. In the 19th century, you also have the arts-and-crafts movement around William Morris. You have the rise of neo-Gothic architecture, which is initially a very ideologically freighted thing. It is a rejection of industrialism.The irony is that it then just—I write about this in The Substance of Style— becomes a style. Therefore, you get to a point where you have Blair Hall at Princeton University built and named for a railroad magnate in the neo-Gothic style because it associates the university with the great universities of Britain. It takes on a different meaning over time, but there is definitely in reaction to industrialism not only this kind of technocratic argument, which also takes a Marxist form; there is a medievalist argument, as well, that we are losing handcraft. We’re losing beauty. The cities are ugly. They’re crowded—of course, cities were always crowded—but [there’s] coal smoke and factories, and it is a ugly transition in many ways. Therefore, we should go back to a pastoral, hierarchical, often Catholic ideal. That is a reactionary stasis, which is very prominent in a lot of the great literature of the period—not so much in novels, but in poetry. Yes, they are two distinct, very old—at this point we’re talking 150 years; I guess that’s not old by human history, but certainly old by American history—ideals, and they take different forms.The American ideal is different from the European ideal, the reactionary ideal. Also, one thing that’s different is while there is this Wendell Berry, farmer, slightly medievalist view, there is also in the U.S. a wilderness ideal. In Europe, the cultivated landscape is always, or almost always, the ideal, whereas in the U.S., you also have a notion that untouched by human hands is ideal. That’s less common on the right than on, I don't know, I hesitate to call [it] exactly the left, but in the environmental movement.Aaron: That raises my next question, which is, Does this technocratic versus reactionary (or traditionalist or natural) by and large map onto a left-right spectrum? It certainly seems like technocrats are the left and the center left, generally speaking, and the people calling for a return to the old ways tend to be on the right.Virginia: Well, part of the point of The Future and Its Enemies is that these things do not really map onto the left and the right. They cross those divisions. It’s just that what people want is somewhat different, and so conservative technocrats might be more inclined to regulate land use so that you have single-family suburban homes or regulate immigration in a technocratic way, so that you give priority to people who have a lot of college degrees and professional skills, because they’re going to be—a Brahman from India is better than a peasant from Guatemala, because we can anticipate that.I’m just using those as examples. I describe technocracy as an ideological ideal in the early 20th century, because there was an intellectual movement there, but I don’t think it is primarily ideological. I think, for many people, it is common sense. It is common sense that somebody ought to be in charge, and people ought to make rules, and we ought to control things. And if this is dangerous, we should prohibit it, and if it’s good, we should subsidize it. This is the norm in our politics, and that wasn’t new in the 20th century.Things were subsidized and prohibited forever, but it got this patina of efficiency and rationality and modernity in the early 20th century. It took on an ideological air, but it is the norm in our politics. That’s one reason I spend a lot of time in the book talking about it. But really what interests me is [that] I think of it as the norm: That it’s what most of our political discussions are, but both reactionaries and dynamists, therefore, have to make alliances with technocrats in order to get the world they want. They’re the polar opposites, but the question is—in some ways, the technocrats decide who wins.Aaron: How totalizing are these two—are the dynamic versus the static viewpoint? Because there are lots of vectors for change. There’s technological change; there’s social; there’s political. Like we right now refer to, say, the Trumpist movement as “conservative,” but populism is on the one hand, very stasist in culture shifting too quickly—I-don't-like-it-make-it-stop!—but it’s very politically radical in terms of [saying] the systems that we have in place need to be torn down and replaced.Virginia: I describe them as if they’re these silos, but that’s just a model; that’s not reality. That’s the map, not the landscape. First of all, most people have elements of all of these things in their thinking, in their intuitions, in their politics; as you say, it takes multiple dimensions. Somebody may think that we should, even within, say, economic regulation—somebody may think that we should let people build houses more freely, but the FDA should regulate really tightly, something like that.Talking about the radical institutional aspects of populists of various types brings up the issue of rules, which is one of the things that’s the trickiest to understand and to grapple with. How do you think about rules? Let’s say you want this kind of dynamism. You want this kind of learning, bottom-up order without design, trial and error, correction, economic progress, or social learning. What sort of rules give you that? There’s very much this idea that you need nested rules, and you need certain rules that are fundamental and don’t change very often.You could call that the constitutional order, and those need to be fairly simple, and they need to be broadly applicable, and they need to allow things like recombinations and people using their own knowledge to make decisions and plans. And there’s a chapter about that, which I then, in a completely different context, reinvented in The Substance of Style; honest to God, I did it from the bottom up. I didn’t refer, because it was all about neighborhoods, where [it’s a] fact that people care about what houses look like, but on the other hand, they care about their neighbor’s house, and they will pay money to live in a planned community—but on the other hand, people want freedom, and how do you think about that?One of the issues is that you need to be able to move when rules are very prescriptive; there need to be ways to exit. What you’re seeing in this populist upsurge is a notion that the rules that we think of as not changing very much—that stable institutions, the liberal institutions that govern societies—are barriers to what populists want, and so, therefore, they need to be taken down.That does become a radical move. One of the misperceptions that was in lots of reviews of the book was the idea that dynamism equals change, and that I’m saying all change is good. First of all, even in the process of dynamism—that is, bottom-up change—not all change is good. It’s an experimental process. Sometimes you do things—whether it’s you start a company or you change your living arrangements—and it’s a bad idea. It doesn’t work, and that’s why we need criticism and competition, and that’s part of the process.Aaron: Then the goal is we want a dynamic society because it produces all of these. The book is full of all the wonderful benefits that come out of a dynamic society. But at the same time, the people who are fans of stasis—yes, a lot of them take it way too far in a reactionary direction—but. … There is something fundamentally true to the notion of wanting things to be somewhat stable and familiar. I just three weeks ago moved my whole family from Washington, D.C., to Colorado.We all know moving is incredibly stressful, and it’s not just because of all the logistics you have to deal with. Uprooting yourself is deeply stressful, and [it] takes a long time to get re-established. More people move in a dynamic society than in the past, but the world around us is changing too, in a way that feels like the same stress that I have with moving. People want [to feel] like, “My life is settled and is going to look roughly tomorrow the way it did today.” There is something very human and understandable about that. How do you get the effects of dynamism without everyone constantly feeling like they’re being uprooted?Virginia: This is a really good question, a really hard question. Part of it goes back to this idea of nested rules and also nested commitments. One of the important aspects of dynamist rules is that they allow for commitments—that you can make contracts of various kinds (to use that term), but it could also be marriage; it could be, I'm going to live in this town, and I'm going to be involved in civic institutions and volunteer institutions, and I'm going to put down roots here.That said, one of the difficult things is that one person’s stability is an intrusion on another person’s plans often. For example, I write a lot about housing, and there’s some about housing in the book, but there’s not as much as I would probably put there if I were writing it today. One thing that we see in Los Angeles, where I live, is there are a lot of veto players whenever you want to build anything, and they are people who want their neighborhood to stay the same.One result of that is that people who have grown up in Los Angeles, the children of people who lived here, cannot live here anymore because it’s too expensive. That's this kind of, I want stability [laughs]—oh, but wait a minute; I’d also like to see my grandchildren, but now they live in Texas because they couldn’t afford to live here. There’s often trade-offs with issues of trying to make stability, but human life inherently changes. Generations come and go; we grow older; people have children, et cetera.There is a certain amount of change that always is going to happen, but there is a highly nonideological issue which comes up, in fact, in my most recent book, The Fabric of Civilization, in the context of the original Luddites. The original Luddites were not ideologues [chuckles]; they were not stasists who wanted to keep medieval ways because they liked what the Middle Ages represented to their intellect.They were hand weavers who had prospered from the invention of mechanical spinning, which gave them ample supplies of thread. So they had prospered because of the technological and economic upheavals of a generation earlier, and now they were losing their jobs to power looms, and so they were mad. They were stressed. At that time, losing your job was not like losing your job in 21st century America; losing your job meant your children might starve.There was a reason to be upset. They engaged in both nonviolent civic activity, petitioning Parliament and that sort of thing—and also violent riots and smashing looms and that sort of thing. The government said, “No, you don’t get to choose.” There was a technocratic aspect of that, which is, they said, "Look, this is going to be good for society. It’s going to create new jobs and new industries. It’s going to make Britain more prosperous against its rivals.” All of these kinds of things. And so power looms went ahead, and some of the Luddites got deported to Australia (the more violent ones).That is really important in the history of economic prosperity, and the people who were the children and grandchildren and great-great-great-grandchildren of those people are far better off in basically every respect than their ancestors, but it was a true, genuine, painful transition. I don’t know what my prescription would’ve been back then other than let this go forward. In a richer society, there are things that can be done with redistribution to ease those transitions.Another thing that I think we don't emphasize nearly enough in the U.S. today is the traditional American thing of moving to different parts of the country. There's considerable evidence that people are more locked into place than they used to be, and that makes certain things more difficult. Particularly, if you are somebody who is living in Detroit, say, it might be better if you could move to Colorado or North Carolina, but you don't have the money, because moving is not just disruptive; it's expensive to do so.There may be other barriers like licensing regulations or that sort of thing, but the main barrier, aside from the psychological barrier, is the financial one. I think that that's the sort of thing you need to think about from a policy point of view. But you're right. People like change; they like the benefits of change; but only up to a point.Aaron: There's another side to it, too, I think. As I was re-reading the book in prep for our conversation, I kept thinking there's a moral imperative of dynamism when you think about it in a social context, because the story you just told is an economic and a production one. The disruption that can come from changes in economics—and we see this all the time like a lot of the reactionary movement right now is—but we're losing the old lifestyle of working in the factory in the small town and supporting your family at a middle-class level on one salary. That's gone away.That's an economic story, but I think a lot of what we're seeing today from illiberal sides is about social change. The anti-trans backlash is in a lot of respects about this: “My conceptions of gender and gender roles are that there are people who are setting those aside, living in ways that are contrary to them, but we also see the traditional family is under attack.”It's not under attack in the sense of someone is coming and trying to just tear apart my traditional family, but that there are people who are living in nontraditional ways, and it makes me uncomfortable. In that case, it seems harder to justify the stasist worldview from a moral standpoint, because what you're saying is often that people who were traditionally marginalized or oppressed are now able to get outside of—are now centered in a way that they didn't used to be, are gaining privilege in a way that they didn't used to be, have status in a way that they didn't used to have.Or are able to express themselves and author their own identities in ways that they weren’t, and I don't like that; that makes me uncomfortable. We need to shut it down; we need to punish corporations that are too “woke” in what they're expressing or what they're putting in movies and television. That one seems harder to say yes, you've got a point [to], because telling other people they can't have dynamic self-identities isn't the kind of thing that we should necessarily correct for or compromise with.Virginia: Yes and no. The way you put it, sure, but it's also the case that a lot of these fights are between two sides each of which wants to force the other one to adopt its worldview and to pay obeisance to its worldview. So that it's not just that I have to tolerate someone who has [another worldview], whether they believe that everyone who doesn't believe in Jesus will go to hell, or whether they believe that someone with male genitalia can be considered a woman.Those are two worldviews that you can live with in a society, where people hold those views, and we just tolerate them, and it's like, I don't care if you believe Mercury is in retrograde and makes your computer go crazy. I think it's stupid, but okay, sure what the hell. We can treat them like that, or we can have fights where everybody has to get on the same page. And a lot of what we're negotiating now is what is it where everybody has to be on the same page.These are the great fights that led to liberalism in the first place—[these] were the religious wars, where there was an assumption that unless everybody agreed on that [question], unless everybody in the society was of the same faith, the society would not be strong. Obviously, this is potted history, but they kept fighting over that until they were exhausted and said, “Let's have liberalism instead.” That's oversimplifying much. A lot of these fights today are about, How do you accommodate when people have radically different worldviews, live in the same society, have to know about each other's worldviews?One of the differences today versus when I was growing up in the Bible Belt is that everybody sees everything. The people I went to college with at Princeton for the most part—I was raised a liberal Presbyterian, but the assumptions I made about the people around me—I might as well have been from Mars. I could understand Renaissance literature, because it's steeped in a religious society, in a way that most of the people that I went to school with couldn't, because they had never been in a place where everybody was religious—and really religious, not just nominally.Also, that affects jokes and stuff. Supposedly, my freshman roommate got mad, she told somebody, because I had said she was going to hell. Considering I didn't believe in hell, that was impossible, but I must have made some joke that anybody who knew me in high school would've understood. Anyway, this is a long way of saying that I think that you are right, and this goes to the issue of commitments and being able to carve out your own life. Some of these fights are about that.One of the things that happened since I wrote the Future and Its Enemies is [gay marriage]. When I wrote the Future and Its Enemies, I was for gay marriage, but that was way ahead of the curve. It advanced partly because of this desire to have a commitment. I see this as a constant negotiation, and I also see the economic ideals as not being completely disconnected from it.People talk about the good old days: Let's go back to the good old days, when you could work in a factory and have a union job and raise a family on one income and all of that. Well, first of all, I'm from South Carolina, and that wasn't the case then. Even if you were white, people were poor. Yes, you could do that—you could raise a family on one income—if you were an engineer, but not if you worked in a textile mill. You would have both parents working in a textile mill and probably the teenage kids as well—and that's, again, if you were white. If you were Black, you were even worse off. So there is a kind of centering, as you say, of a particular not only ethnically narrow experience, but also even regionally narrow experience in that kind of nostalgia. I think that remembering who's left out is an important part. It goes to this issue of the knowledge problem—of the idea that dynamism allows people to operate on their local knowledge. It allows people who might not be included in the big, top-down view to force themselves to be included, because they just go through life and do their thing.Aaron: I think part of that is not necessarily stasists, or not necessarily stasists versus dynamism or change, but about pace of change. This is the point that you made about we're all aware of what each other is doing in a way that we didn't used to be. There always are subcultures; a subculture adopts a handful of things and then innovates on them very quickly and becomes weird and pops up. Suddenly everyone's goth for a little while, and goth is very different. And this shows up in fashion frequently, or in me trying to keep up with my middle schoolers slang or so on. With the social media stuff in particular, we end up in these situations where you don't even think that your subculture is a subculture anymore. You think it is the dominant culture because you've cultivated your Twitter following, and everyone you know online knows to talk this way, or that these terms are passé or shouldn't be used anymore or whatever. Then you assume that's what everyone knows and everyone talks about. I don't even know that, in a lot of cases, it is you saying, “I want to force my subculture’s views on everyone else”; it's more just you assume that that's what all of the views are.Virginia: It's like my joke about you're going to hell. I assume that you know how I mean it—oh, wait a minute, you don't, because you don't come from that subculture. It used to be that these subcultures were [overlooked]. The mainstream media—The New York Times, Time Magazine—did not know, and even Gallup polling did not know, there was such a thing as “born-again Christians” until Jimmy Carter. And they were a huge percentage of the population. It's just that they weren't the people who worked at The New York Times; they weren't the people who lived in New York, for the most part.Partly because I have this weird background of having lived in a lot of different parts of the country, I'm more aware of how many subcultures there are, and my Facebook friends come from all of them, pretty much. I think you're absolutely right that part of what happens is people assume that their norms are universal, or should be universal, and that therefore people who violate them are bad people.And there are rewards for making those assumptions. There are rewards in terms of attention. There are rewards in terms of, “You go, girl,” or whatever, and that has been corrosive. I think that it's not new in human history, but as you say, there has been an acceleration of it, and the idea that you could know about these horrible other people who think differently from you is more likely. You don't just know about them, you probably get a distorted picture of them, because it's being filtered through people who are spinning it or selectively representing it in a way that maximizes not only its strangeness, but its “evil.”Aaron: Yes. I think we also, too, don't necessarily appreciate the pace at which things change and become accepted in our subcultures. You mentioned you wrote this book—this book was published in 1998, I think it was.Virginia: Yes. Right. So I was writing it in like 1996, '97.Aaron: I was in high school in the 90s. Thinking about gay marriage—you mentioned gay marriage—how dramatic the change on acceptance of gay relationships and gay marriage has been: When I was in high school, Ellen coming out on her sitcom was, like, We're going to have a gay character on television! This was national news; everyone was talking about it. Whereas now, 30 years later, it's just like, so what, there's a gay character.It happens very quickly, and this makes me think how much of this is about—and going back to the rules, too—ambiguity versus clarity; that people want to know how things are, and how they're going to be. And a lot of rapid change is not constant. It's not uniform. It is experimentation and competing views and figuring out which is the right one, or which is the acceptable one.All of that messiness means that things are ambiguous, and that what we want is clarity. We want to know, okay, this is the rule that I'm going to have to follow tomorrow. This is what's going to be acceptable. I'm not going to get called out for this. I'm willing to change, but I want to know what it's going to be. That dynamism is inherently ambiguous.Virginia: Well, I think that is part of it. I think people do want to be able to make their own plans and structure their own lives in a way that it is going to work for them. I would argue that you're better off in a world where people aren't constantly making new rules, from their plans, to run your plans. That's one of the big Dynamist ideas. But you were talking about people wanting clarity. One of the things that I've written about over the years is clothing sizes and problems of fit. Bear with me; this is relevant. People tend to think that it would be better if there were specific clothing sizes—that if you knew that every size eight dress was for a 35-inch bust and a 28-inch waist (I'm making these up) and 40-inch hips, or something like that, that would be great, because everything would be the same. You would know exactly what you were getting. It would actually be terrible. In the ‘40s, the catalog companies actually went to the government and said, Could you please establish some standard sizes? And they did. But almost as soon as they were established, different brands started not complying with them, because it wasn't required; it wasn't a regulation. The reason is that people's bodies come in different proportions—even two people who are the same height and weight. One will have longer legs, one will have shorter arms, one will have a bigger waist, the other will have bigger hips, et cetera. What happens is that brands develop their own fit models and their own sizes. The lack of clarity actually makes it more possible for people to find what fits. I think that is an analogy to one aspect of dynamism—that is, the fact that there isn't a single model that everyone must comply with makes it more likely that people can structure their own lives in meaningful ways. Now that said, this goes back to this issue of nested rules. Hammering down on people because they express views that were perfectly normal 10 minutes ago, or worse yet, because they use a term in a nonpejorative way (they think), and suddenly, it's turned out that it's now pejorative: This is not good. This is a kind of treating as fundamental rules things that should be flexible and adjustable and tolerant. There is this idea of tolerance when we talk about tolerance as a liberal value, a liberal virtue, but there's also mechanical tolerances. I think a society needs that kind of tolerance as well. That allows for a certain amount of differentiation and pliability; that allows things to work, and it allows people not to be constantly punished. Zero tolerance is a bad idea. Anytime people are having zero tolerance, you're almost always going to be running into trouble.Aaron: You published this book 24 years ago. As I said at the beginning, I think the framework and the thesis that you articulated in it is really powerful and helpful for understanding things. But the political landscape and the cultural landscape looks rather different now than it did in the ’90s. Looking at the threats to dynamism that we see today and the rise of illiberalism, what are the lessons that we should draw from the stasist-versus-dynamist framework for countering those threats, or at least understanding them in a way that may prove helpful to ameliorating them?Virginia: Well, there are different forms of illiberalism around the world, and there are different reasons that people back them. One of the things that is striking in the rise of Trump in the U.S. is that one component of the people who voted for him—I don't know whether this would be true if he runs again, because the whole January 6 thing alters it somewhat—were frustrated dynamists. They were people who are really sick of technocracy; they're really sick of being told what they can and cannot do. They're really sick of the fact that it's hard to build things—that it's hard to create, especially with atoms, rather than bits. Peter Thiel might be a a high-profile example, but there are lots of just little guys who own plumbing companies or whatever who are in that category. The notion that you need to knock over the table to effect change: I think some of that comes from this idea that technocracy has tied down ordinary people like Gulliver and the Lilliputians.I think one thing that needs to happen—again, I don't know that this applies in Hungary, but certainly I think it's applicable in the U.S.—is that technocrats need to get their act together, at least some of them, and need to get a little more dynamism in their heads. You're seeing some of this among intellectuals like Ezra Klein and Matt Yglesias on the center-left, and you definitely see it in the issues around housing. That's one thing, because dynamists can't do it alone, and we need allies; we need to peel off technocrats who will support us, many of whom are liberals or think of themselves as liberals, in the sense that they're not illiberal. As far as the people who really want to go back to the Middle Ages, part of this is that you need to tell different stories—and this is hard. Culture is hard. This is not a libertarian show, but one of the things that I say to libertarians and also to conservatives is that they always talk about culture the way leftists talk about markets: as if there's one giant lever. If I could just get my hands on that lever and pull, I could make everything the way I want it. That's a fallacy in markets, and it's a fallacy in culture as well. Whether you like it or not, it's a dynamic process. I hadn't really thought about this, but in a way, The Fabric of Civilization, my latest book, which is the story of world history through the story of textiles, says the world is always changing. Even in the periods where it changes slowly, it changes. There are always people who are pushing against the established order, whether it's economic or cultural or whatever.Another thing that it says quite explicitly in the discussion of traditional clothing—and if somebody goes to my Substack, you can see that I posted this—is that people don't generally want to make a choice between tradition/identity and modernity/progress: They want both. Given control over their lives, they will find ways to incorporate both, to hold onto what they value in terms of their identity and tradition, and to get the benefits of modernity and liberalism.I think many people who really like change don't fully appreciate that. It was definitely not appreciated at the beginning of the 20th century and the technocratic move that we talked about earlier, but the example I use is the way indigenous women in Guatemala dress. Now, they can buy jeans and t-shirts just like everybody else, but they choose to dress in traditional garments—except they're not really traditional. They've changed in a lot of different ways. The daily blouse is made in a factory. It's made out of polyester. It's not woven on a handloom, but it still looks Maya because that identity is important. I think there is a universalizing element of liberalism that wants everyone to be a rootless cosmopolitan. Even those of us who basically are rootless cosmopolitans aren't really. We actually do have roots. I am very dedicated to living in Los Angeles. I really am from the South; whether I like it or not, it shaped me in certain ways. I have certain ties.Liberalism needs to understand that that's how people are—that they care about where they come from. They care about things that are passed down in their families. They care about their community ties, and that is perfectly compatible with liberalism and dynamism. But the manifestations of that will change. This is why the great social success story of the past 25 years—this is from a liberal, social point of view—is the story of gay marriage, because it says, yes, gay people are different in certain ways, but they are embedded in families. They want to be embedded in families—not every single one—but in the sense that most people want to be embedded in families. The mere fact that you have a sexual orientation toward the same sex does not mean that you want to leave that all behind; it means you want to have Thanksgiving, and you want to get married, and you want to have kids. And all of that which is part of normal human life since time immemorial can take a slightly different turn and still be compatible with these very ancient, conservative institutions, which, by the way, have taken a zillion different forms over human history.Aaron: Thank you for listening to Reactionary Minds, a project of The UnPopulist. If you want to learn more about the rise of a liberalism and the need to defend a free society, check out theunpopulist.substack.com.Bonus Material: Virginia Postrel, The Future and its EnemiesVirginia Postrel, “Continuity and Change: The case of Maya trajes.” This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theunpopulist.substack.com

This is part 2b of my 3-part Bob Ross Deep Dive series: Part 1: His Legacy Part 2A and 2B: this audio (broken in two for the podcast audio) Part 3A: The Philosophy of Bob Ross: Ancient History and Modern Leisure Part 3B: The Philosophy of Bob Ross: Industrial to Digital Revolution Let's dive deep into Bob Ross's humble Florida roots, learn about his interests, his friends, mentors, and family, and follow him to Alaska where he cultivated a joy that he'd eventually share with the world. Let's find out what made Bob Ross into the mysteriously placid man who's still winning us over nearly 30 years after his death.   A special thank you to all my Patreon supporters over the past few months while I've been diving into this cultural figure who's impacted what I do so profoundly. I hope this series is worth it. -Rich   Chapters: Hello Annette, Goodbye Bill Bob Ross, Inc. Why Bob Succeeded: Sincerity, Style, Preparedness, and Vision Bob's Reputation: Andy Warhol, Thomas Kinkade… and Bob Bob Ross, Inc. is not Bob Ross Changing of the Guard: Bob Ross, Inc. Since 2012 Steve Ross's Comeback (with Dana Jester)   Main sources: Sex, Deceit, and Scandal: The Ugly War Over Bob Ross' Ghost by **Alston Ramsay** https://www.thedailybeast.com/sex-deceit-and-scandal-the-ugly-war-over-bob-ross-ghost  Netflix Documentary: "Bob Ross: Happy Accidents, Betrayal & Greed" by Director **Joshua Rofe** and producers **Melissa McCarthy and Ben Falcone **(https://www.netflix.com/title/81155081) "Happy Clouds, Happy Trees: The Bob Ross Phenomenon" by **Congdon, Blandy, and Cooeyman** (https://www.amazon.com/Happy-Clouds-Trees-Ross-Phenomenon/dp/1617039950) PBS doc "bob ross: the happy painter" and "brush strokes"(official publication of the tv art club by BRI) + communications w various people Minor Sources Directly About Bob/Joy of Painting:  https://artsfuse.org/235381/film-review-bob-ross-happy-accidents-betrayal-greed-painting-by-plunders/ - https://thehustle.co/why-its-nearly-impossible-to-buy-an-original-bob-ross-painting/amp/ - https://www.artsy.net/article/artsy-editorial-bob-ross-owes-happy-trees-forgotten-painter - https://biographics.org/bob-ross-biography-the-man-behind-the-canvas/ - https://www.vanityfair.com/hollywood/2021/10/bob-ross-inc-joan-kowalski - Alexander Cruz's testimony

The honeymoon's over, and Hugo Award Winning Author Sarah Gailey (Just Like Home, The Echo Wife, EAT THE RICH) joins Maggie & Red one last time to wait out the 72 hours between giving birth and heading to the most sensual Thomas Kinkade inspired love shack. There was of course, only one way this could ever end: with a teenager betrothed to an infant and a supernatural battle for the ages (or not). They're (finally!) talking the final half of Stephenie Meyer's Breaking Dawn (2008) and its adaptation into the 2012 Bill Condon film, Breaking Dawn: Part 2. PRE-ORDER SARAH GAILEY'S JUST LIKE HOME Buy Maggie's newest book, Love in the Library If you like us, you'll also enjoy: Following the pod on twitter: https://twitter.com/FailureAdapt Supporting Failure to Adapt on Patreon: https://www.patreon.com/FailureToAdaptPodcast

This is part 2a of 3 parts of my Bob Ross Deep Dive series: Part 1: His Legacy Part 2A and 2B: this audio (broken in two for the podcast audio) Part 3A: The Philosophy of Bob Ross: Ancient History and Modern Leisure Part 3B: The Philosophy of Bob Ross: Industrial to Digital Revolution Let's dive deep into Bob Ross's humble Florida roots, learn about his interests, his friends, mentors, and family, and follow him to Alaska where he cultivated a joy that he'd eventually share with the world. Let's find out what made Bob Ross into the mysteriously placid man who's still winning us over nearly 30 years after his death.   A special thank you to all my Patreon supporters over the past few months while I've been diving into this cultural figure who's impacted what I do so profoundly. I hope this series is worth it. -Rich   Timestamps/Chapters: 0:00 Intro 3:39 Childhood 34:52 Early Adulthood: Air Force, Family, and the Alaskan Landscape 1:09:08 The Coming Career Shift 1:28:36 Bill before Bob: Wilhelm Alexander's Story 2:15:39 Bob: “The Happy Alaskan” (where this one ends) 2:43:08 Hello Annette, Goodbye Bill 3:21:12 Bob Ross, Inc. 3:31:21 Why Bob Succeeded: Sincerity, Style, Preparedness, and Vision 4:25:03 Bob's Reputation: Andy Warhol, Thomas Kinkade… and Bob 4:48:49 Bob Ross, Inc. is not Bob Ross 5:44:01 Changing of the Guard: Bob Ross, Inc. Since 2012 6:02:02 Steve Ross's Comeback (with Dana Jester)   Main sources: Sex, Deceit, and Scandal: The Ugly War Over Bob Ross' Ghost by **Alston Ramsay** https://www.thedailybeast.com/sex-deceit-and-scandal-the-ugly-war-over-bob-ross-ghost  Netflix Documentary: "Bob Ross: Happy Accidents, Betrayal & Greed" by Director **Joshua Rofe** and producers **Melissa McCarthy and Ben Falcone **(https://www.netflix.com/title/81155081) "Happy Clouds, Happy Trees: The Bob Ross Phenomenon" by **Congdon, Blandy, and Cooeyman** (https://www.amazon.com/Happy-Clouds-Trees-Ross-Phenomenon/dp/1617039950) PBS doc "bob ross: the happy painter" and "brush strokes"(official publication of the tv art club by BRI) + communications w various people Minor Sources Directly About Bob/Joy of Painting:  https://artsfuse.org/235381/film-review-bob-ross-happy-accidents-betrayal-greed-painting-by-plunders/ - https://thehustle.co/why-its-nearly-impossible-to-buy-an-original-bob-ross-painting/amp/ - https://www.artsy.net/article/artsy-editorial-bob-ross-owes-happy-trees-forgotten-painter - https://biographics.org/bob-ross-biography-the-man-behind-the-canvas/ - https://www.vanityfair.com/hollywood/2021/10/bob-ross-inc-joan-kowalski - Alexander Cruz's testimony

In this episode Amber and Rax talk about Thomas Kinkade. You might not recognize the name but you have seen his paintings hanging in AirBnb's or at your friend's grandma's house, or on a hallmark card. He is known as "The Painter of Light" because he called himself that and trademarked it. Why was this kitsch painter so hated by the art world? Why was he so loved by the masses? What did he have against Winnie the Pooh? All that and more in this free ep! For more episodes join our patreon: https://www.patreon.com/lowcultureboil

A heavily-rotoscoped sword and sorcery adventure film produced by iconoclastic animator Ralph Bakshi and beloved fantasy artist Frank Frazetta, Fire and Ice's crew featured such notables as Peter Chung (Æon Flux), James Gurney (Dinotopia), Maggie Roswell (The Simpsons), Roy Thomas (Conan), Gerry Conway (Spider-Man), and Thomas Kinkade (a bunch of ugly paintings at your local Hallmark dealer). Greenlit because of the recent success of Conan The Barbarian (1982) and The Beastmaster (1982), Fire and Ice was quickly churned out under a miniscule budget. It was greeted with miserable reviews and underwhelming ticket sales, but it gradually grew a modest cult audience on home video and there are occasional threats from Hollywood to do a remake. Ryan is joined by Sylvan and Cheryl for a close look at this odd little movie. Discussion topics include Frank Frazetta's artistry, how Fire and Ice compares to Bakshi's prior film Wizards (1977), male power fantasies, queercoding, and how the movie's discomforting racial subtext is rooted in the fantasy genre as a whole. --- Support this podcast: https://anchor.fm/ryan-valentine3/support

Thomas Kinkade, aka the “Painter of Light” was the most successful commercial artist of his time. At the peak of his popularity it was estimated that one in 20 American homes owned a Kinkade print or product. His whimsical portraits of cottages, lighthouses, Christmas imagery, and overall kitschy shit raked in millions upon millions of … Continue reading "Episode 69: Thomas Kinkade"

El primer pintor en cotizarse en la bolsa de valores nunca fue respetado por los conocedores del arte debido a sus pinturas blandas y genéricas con tintes religiosos, pero su vida privada se alejaba mucho de la imagen limpia con la que vendía sus pinturas. Síguenos y visita nuestro sitio oficial: instagram.com/eldollop twitter.com/eldollop facebook.com/eldolloppodcast eldollop.com/

★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on:  Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Casey Cangelosi, Ben Charles, Karli Vina, and Ksenija Komljenović Intro music by Luigi Morello www.morleoeditore.com  Watch here  Listen below  3:39 Mallet drawing giveaway, courtesy of IP.  Congrats, Pedro Castro 4:40 Welcome, Matt Jordan 6:10 JSU during the pandemic?  12:45 Matt's father, John Jordan https://www.johnjordanwoodturning.com/ 16:30 What have you learned from working at Pearl?  20:25 Patents on products  25:20 Work balance 27:50 How do you balance working with multiple marching groups in a season?   31:00 Money from arranging?  33:57 Balance and being well rounded 41:03 Casey: When we talk about "good" and the criticism of Thomas Kinkade's art 1:04:41 Playing with the Nashville Symphony?  Movie gigs in Nashville  1:13:15 Large setup rants  1:16:00 Something about Teslas...idk

Oat Milk in Christopher's coffee Types of milks Christopher farms wildflowers and cotton Luxury cotton nests Recycling fibers James's dog hates him The Christophers go camping Eating mudbugs Lobster riots Ettouffee Bad parents are sucky travel mates Andy Warhol sucks "Experimental" art is just bad art Most influencer American artist of the 20th century? John Williams James's favorite 20th century PAINTERS are Pollock and O'Keeffe Christopher loves art museums Edward Hopper Norman Rockwell The Chinese century? Andy Warhol is a failed pop artist Thomas Kinkade is the real pop artist Art Curators are... just terrible American Gothic Andrew Wyeth Van Gough - greatest painter of all time Everyone, rich or poor, drinks the same Coke Most important 20th century American artist: James - Kubrik & Robert Johnson Most important 20th century American artist: Christopher - John Ford, Danny Elfman Comedians are artists too John Gruber can't pronounce stuff Pontiac Fiero

Heyd and Erin explore the "seminal" film Somewhere in Time, a romantic sci-fi that delves into the concept of time travel, leading the protagonist down a rabbit hole to find true love. Erin used this movie as a catalyst for an exhibition, whereby she was able to confront feelings of loss and eventual acceptance through sculptures such as Lover's Picnic. Tangents include: the Bechdel test, Black Mirror, The Bachelorette, artist and critic Darren Jones' "love" of Thomas Kinkade, rom-coms For more information about Erin's studio practice, check out her website https://erinlouisestafford.com/ and Instagram @erinlstafford. Follow us on Instagram @artists.talk.movies --- Support this podcast: https://anchor.fm/erin-stafford/support

Join your hosts at the Thomas Kinkade house of the extremely normal Lan family for chapters 63 and 64, parts 1 and 2 of the "Tenderness" arc! In this episode, Wei Wuxian is in full uguu mode, Lan Wangji (strapped) makes a bitch thing come out of his mouth, and Lan Xichen reminds us that his room is called the cold room because he be chilling. Meanwhile, Roy becomes QQAnon, Fallon introduces a new segment, and we both put on our airbrushed badass Jiggy t-shirts for it all! Intro: Carly Rae Jepsen – I Really Like You, arr. & perf. by Olivia Lin Outro: Steely Dan - Chain Lightning; arr. & perf. by Bill McBirnie Also used: Death Note Original Soundtrack (Hideki Taniuchi) - Near Frederic Chopin – Nocturne in E-Flat, Op. 9, No. 2, perf. by James Galway Noisespace | Patreon | Tumblr | Discord | Twitter | Fallon | Roy

It's been 25 years since Bob Ross died and 26 years since his The Joy of Painting went off the air. But there are 52 episodes of the show available to stream on Netflix. Bob Ross and Chill is a thing. The 403 full episodes available on YouTube have accumulated something approaching 250 million views. And last summer, The New York Times did a big Bob Ross investigation. This hour: a look at the undying force for permed hair and puffy little clouds and happy little trees that is Bob Ross. Plus: Could we do a show about Bob Ross without also talking Thomas Kinkade? No we could not. And so no we do not. GUESTS: Nathan Badley - Cohost of the Nothing But a Bob Thang podcast Alexis Boylan - Associate professor of art history at UConn and the editor of Thomas Kinkade, The Artist in the Mall Justin Croft - Cohost of the Nothing But a Bob Thang podcast Emily Rhyne - Cinematographer at The New York Times Join the conversation on Facebook and Twitter. Colin McEnroe and Chion Wolf contributed to this show, which originally aired September 26, 2019.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

The newest episode of Disney Life Happy Wife!In this newest episode, I talk about all of the Disney fun that we're having during our quarantine/lockdown.  Disney Plus.  Disney puzzles.  And more!  Check out the links below to see some of the great Disney stuff we have been enjoying during this time.Also in today's episode, Emily and I are giving our review on the new Disney movie ... ONWARD!  Hear what we each thought about.  If you have a different opinion, send me a message and let me know!  DM or email!Enjoy the latest episode folks.  It feels so good to be back.Disney (and others) Quarantine Fun ...Disney x Thomas Kinkade 4 puzzle set ... Mickey and Minnie, Pocahontas, and Snow WhiteLady and the Tramp x Thomas Kinkade puzzleFrozen 2Amazon Echo Show 8 ... get this and you can listen to some great Disney music through Amazon MusicOnwardFollow along with me on social media:- Facebook (@disneylifehappywifepodcast)- Instagram (@disneylifehappywifepodcast)- Twitter (@dlhwpodcast)Do you have any questions, comments, or concerns?  Do you have a topic to recommend?  Is there something Disney related that you want to talk about?  DM me on social media OR email me at dlhwpodcast@gmail.com.Would you like to contribute to my podcast financially?  This could go to better equipment or even towards the next Disney trip.  Check out my new page on Patreon.***Disclaimer ... the links to products are affiliate links.****

It's been 25 years since Bob Ross's The Joy of Painting went off the air (and 24 years since Ross died). But there are 52 episodes of the show available to stream on Netflix. Bob Ross and Chill is a thing. The 403 full episodes available on YouTube have accumulated something approaching 250 million views. And this summer, The New York Times did a big Bob Ross investigation. This hour: a look at the undying force for permed hair and puffy little clouds and happy little trees that is Bob Ross. Plus: Could we do a show about Bob Ross without also talking Thomas Kinkade? No we could not. And so no we will not. GUESTS: Nathan Badley - Cohost of the Nothing But a Bob Thang podcast Alexis Boylan - Associate professor of art history at UConn and the editor of Thomas Kinkade, The Artist in the Mall Justin Croft - Cohost of the Nothing But a Bob Thang podcast Emily Rhyne - Cinematographer at The New York Times Join the conversation on Facebook and Twitter. Colin McEnroe and Chion Wolf contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.