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The Bob Ross Virtual Art Gallery: A New Site Presents 403 Paintings from The Joy of Painting Series (and Uses Data Analysis to Demystify Bob Ross’ Craft)

“We don’t make mistakes. We have happy accidents,” the late Bob Ross soothed fans painting along at home, while brushing an alarming amount of black onto one of his signature nature scenes.

His mellow on-camera demeanor and flowing, wet-on-wet oil painting style were perfectly calibrated to help tightly-wound viewers relax into a right-brained groove.

The creators of the Bob Ross Virtual Art Gallery take a more left brained approach.

Having collected data on Ross’ evergreen series, The Joy of Painting, they analyzed it for frequency of color use over the show’s 403 episodes, as well as the number of colors applied to each canvas.

For those keeping score, after black and white, alizarin crimson was the color Ross favored most, and 1/4 of the paintings made on air boast 12 colors.

The data could be slightly skewed by the contributions of occasional guest artists such as Ross’ former instructor, John Thamm, who once counseled Ross to “paint bushes and trees and leave portrait painting to someone else.” Thamm availed himself of a single color — Van Dyke Brown — to demonstrate the wipe out technique. His contribution is one of the few human likenesses that got painted over the show’s 11-year public television run.

The Bob Ross Virtual Art Gallery has several options for viewing the data.

Mouse over a grid of grey rectangles to see the 403 artworks presented in chronological order, along with titles and episode numbers.

(This has all the makings of a thumping good memory game, à la Concentration… flip all the rectangles, study them, then see if you can navigate back to all the cabins or meadows.)

A bar graph, similarly composed of rectangles, reveals the colors that went into each painting.

Another chart analyzes Ross’ use of color over time, as he moved away from Burnt Umber and eased up on Pfthalo Green.

 

Indian Red was accorded but a single use, in season 22’s first episode, “Autumn Images.” (“Let’s sparkle this up. We’re gonna have fall colors. Let’s get crazy.”)

For art lovers craving a more traditional gallery experience, site creator Connor Rothschild has installed a virtual bench facing a frame capable of displaying all the paintings in random or chronological order, with digital swatches representing the paints that went into them and YouTube links to the episodes that produced them.

And for those who’d rather gaze at data science, the code is available on GitHub.

Explore the Bob Ross Virtual Art Gallery here. Scroll down to take advantage of all the options.

Related Content: 

Watch Every Episode of Bob Ross’ The Joy Of Painting Free Online: 403 Episodes Spanning 31 Seasons

The Joy of Painting with Bob Ross & Banksy: Watch Banksy Paint a Mural on the Jail That Once Housed Oscar Wilde

Experience the Bob Ross Experience: A New Museum Open in the TV Painter’s Former Studio Home

Bob Ross’ Christmas Special: Celebrate, Relax, Nod Off

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her Necromancers of the Public Domain: The Periodical Cicada, a free virtual variety show honoring the 17-Year Cicadas of Brood X. Follow her @AyunHalliday.

When Was the Pinnacle of Saturday Night Live? A YouTuber Watches One Episode from Each Season & Reports Back

How do we evaluate a show like Saturday Night Live? And to what, exactly, can it be compared? Before its “lackluster” debut on October 11,1975, nothing quite like it existed on television, and since that debut, everything resembling SNL exists because of SNL. The show has launched a few dozen careers, but it has also been a veritable comedy graveyard. Co-founders Lorne Michaels and Dick Ebersol both quit at different times, both after begging NBC to move to pre-recorded content because SNL’s production schedule is so grueling. Whether or not its formula works during any given episode, it’s truly unlike any other show on television.

Given its unique, and in recent decades, socially vaunted, place in popular culture, we generally judge Saturday Night Live by comparing it to itself — or to earlier iterations of itself, when it was funner, edgier, less formulaic, pandering, or whatever the current criticism happens to be. Is this a fair standard? Are expectations for the show’s political relevance or comic consistency too high? The lack of any serious competition for the time slot means that SNL exists in a league of its own. The standards we apply to it are necessarily subjective, and subject to change given changing social climate and the show’s increasing topicality.




“So much of what Saturday Night Live wanted to be, or what I wanted it to be when it began, was cool,” says Ebersol. Try staying cool for 45 years. So why do we still care? Maybe because everyone born in the last few decades has nostalgic memories of a golden age of SNL that just happened to coincide with their adolescence. But nostalgia, says YouTuber Drew Gooden above, “is a drug that causes us to misconstrue our memories.” We want Saturday Night Live to be “good again,” by which we mean funny in ways it was. But measuring its goodness independently of memory proves difficult.

Rather than assuming, as so many viewers do, that the show peaked in the past (say the early 80s) and has steeply declined since then, Gooden hypothesizes that an accurate graph of its quality might just as well look like a jagged line full of peaks and valleys over the decades. Saturday Night Live, that is to say, has always been consistently full of great moments and terrible ones — within the same season and often the same episode. It’s in the very nature of live TV that some ideas work and others don’t on the day, and the sketches and characters we remember from our youth may not hold up well ten, twenty, thirty, even forty years later.

Gooden decided to withhold judgment on the overall quality curve of Saturday Night Live, his favorite show, before putting in the time and effort to watch at least one episode from every year in its run. See how the show comes out in his estimation after the experiment. He may not change anyone’s mind about the best, and worst, seasons, episodes, cast members, and hosts. But he does demonstrate an admirable willingness to dig into SNL’s history and give years of comedy positively antiquated by 21st century standards a fair shake.

Related Content: 

Saturday Night Live’s Very First Sketch: Watch John Belushi Launch SNL in October, 1975

Creating Saturday Night Live: Behind-the Scenes Videos Reveal How the Iconic Comedy Show Gets Made

Classic Punk Rock Sketches from Saturday Night Live, Courtesy of Fred Armisen

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Why Do Tech Billionaires Make for Good TV Villains? Pretty Much Pop #93 Considers “Made for Love,” et al.

The tech genius has become the go-to bad guy in recent films: They’re our modern mad scientists with all imaginable resources and science at their command, able to release dystopic technology to surveil, control, and possibly murder us. Even Lex Luthor was made into a “tech bro” in Batman v. Superman.

Your Pretty Much Pop hosts Mark Linsenmayer, Erica Spyres, and Brian discuss the HBO Max series Made for Love starring Cristin Milioti, as well as Alex Garland’s Devs, Mike Judge’s Silicon Valley, and Jed Rothestein’s documentary WeWork: Or the Making and Breaking of a $47 Billion Unicorn. How does this trope work in comedy vs. serious media? How does it relate to real-life tech moguls? Can women be villains of this sort, or is a critique of toxic masculinity part of this sort of depiction?

To learn more, read what we read:

Hear more of this podcast at prettymuchpop.com. This episode includes bonus discussion that you can access by supporting the podcast at patreon.com/prettymuchpop. This podcast is part of the Partially Examined Life podcast network.

Pretty Much Pop: A Culture Podcast is the first podcast curated by Open Culture. Browse all Pretty Much Pop posts.

How to Shop Online & Check Your E-Mail on the Go: A 1980s British TV Show Demonstrates

“Links between computers and television sets are, it is always threatened, about to herald in an age of unbelievable convenience,” announces television presenter Tony Bastable in the 1984 clip above, “where all the sociability of going down to your corner shop to order the week’s groceries will be replaced with an order over the airwaves.” Do tell. Live though we increasingly do with internet-connected “smart TVs,” the only unfamiliar-sounding part of that prediction is its reference to television sets. But back then, most every home computer used them as displays, and when also plugged into the telephone line they granted users the previously unthinkable ability to make instant financial transactions at any hour of the day or night, without leaving the house.

Mundane though it sounds now that many of us both do all our work and get all our entertainment online, paying bills was a draw for early adopters, who could come from unlikely places: Nottingham, for instance, the Nottingham Building Society being one of the first financial institutions in the world to offer online banking to its members.




Closer to Thames Headquarters, North London couple Pat and Julian Green appear in the clip above to demonstrate how to use something called “e-mail.” But first they must hook up their modem and connect to Prestel (a national online network that in the United Kingdom played something like the role Minitel did in France), an “extremely simple” process that will look agonizingly complicated to anyone who grew up in the age of wi-fi.

I myself grew up using the TRS-80 Model 100, an early laptop inherited from my technophile grandfather. Bastable whips out the very same computer in the segment above, shot during Database‘s trip to Japan. “The big advantage of a piece of equipment like this is to be able to couple it up back to my home base over the telephone line using one of these,” he says from his seat on a train, holding up the acoustic coupler designed to connect the Model 100 directly to a standard handset, in this case the pay phone in the front of the carriage. Alas, Bastable finds that “none of us have got enough change to make the call to England,” forcing him to check his messages from his hotel room instead. Would that I could send him a vision of my effortless experience connecting to wi-fi onboard a train crossing South Korea just yesterday. The future, to coin a phrase, is now.

Related Content: 

How to Send an E-mail: A 1984 British Television Broadcast Explains This “Simple” Process

How France Invented a Popular, Profitable Internet of Its Own in the 80s: The Rise and Fall of Minitel

From the Annals of Optimism: The Newspaper Industry in 1981 Imagines its Digital Future

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Rick Steves Tells the Story of Fascism’s Rise & Fall in Germany

“Healthy, vigorous, respectable: everyone’s favorite uncle.” How many of us hear these words and think of that most beloved of all American travel-television personalities, Rick Steves? Indeed, in the video above they’re spoken by Steves, though to describe a figure very different from himself: Adolf Hitler, who convinced his people not to tour Europe but to invade it, sparking the deadliest conflict of all time. How and why this happened has been a historical question written about perhaps more voluminously than any other. But the Stevesian method of understanding demands first-hand experience of Germany, the land in which the Nazi party came to power.

Hence “Germany’s Fascist Story,” a 2020 episode of Rick Steves’ Europe whose itinerary includes such destinations as Nuremberg, site of the eponymous Nazi rallies; Hitler’s mountain retreat in Berchtesgaden; the Gestapo and SS headquarters in Berlin. We’re a long way indeed from Steves’ usual circuit of cathedrals, markets, and bed-and-breakfasts.




Enriched with the historical footage and the reflections of German interviewees, this travelogue explains the rise in the 1930s and fall in the 1940s of a powerful European strain of fascism. This manifested in popular capitulation to race-based, nationalistic, and ultimately totalitarian state power, not just in Germany but other countries also once regarded as the center of European civilization.

We all know how World War II ended, and the blue-jeaned Steves sums up the relevant chapter of the story while standing atop the underground bunker in which Hitler killed himself. But such a defeat can never truly be considered final, an idea that underlies the continuing encouragement of tourism to places like Berlin’s Memorial to the Murdered Jews of Europe and the concentration camp of Auschwitz-Birkenau, which figures briefly into this episode despite being located in Poland. As any dedicated “Ricknick” knows, the pursuit of any given cultural or historical interest inevitably leads the traveler through a variety of lands. Hence a project like The Story of Fascism, Steves’ hourlong documentary on that ideology’s traces as found all throughout his favorite continent. As he himself has put it, travel is a political act — and it’s one necessary to understanding both the politics you like and the politics you don’t.

For those interested in how Steves built his travel empire, we’d recommend listening to Guy Raz’s lengthy interview with Steves, one episode in his How I Built This podcast.

Related Content:

The Story of Fascism: Rick Steves’ Documentary Helps Us Learn from the Hard Lessons of the 20th Century

Rick Steves’ Europe: Binge Watch 9 Seasons of America’s Favorite Traveler Free Online

20 Lessons from the 20th Century About How to Defend Democracy from Authoritarianism, According to Yale Historian Timothy Snyder

How Did Hitler Rise to Power? : New TED-ED Animation Provides a Case Study in How Fascists Get Democratically Elected

Umberto Eco Makes a List of the 14 Common Features of Fascism

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Wendy Carlos Demonstrates the Moog Synthesizer on the BBC (1970)

We can break popular music into two periods: before the Moog and after the Moog. Upon its debut in 1964, that synthesizer made a big splash in the small but long-established electronic-music world by, among other innovative qualities, being smaller than an entire room. Over the next few years, inventor Bob Moog (whose previous line was in theremins) refined his eponymous brainchild to the point that it became accessible to composers not already on the cutting edge of music technology. But for Wendy Carlos, the cutting edge of music technology was where she’d spent most of her life; hence her ability to create the first bestselling all-Moog album, 1968’s Switched-On Bach.

By the beginning of the 1970s, great public curiosity had built up about these new music-making machines, thanks to Carlos’ work as well as that of composers like the BBC Radiophonic Workshop’s Daphne Oram. It was the BBC that produced the clip above, in which Carlos explains the fundamentals of not just the Moog but sound synthesis itself.




She even plays a bit of the second movement of Bach’s Brandenburg Concerto #4, Carlos’ rendition of which on Switch-On Bach‘s follow-up The Well-Tempered Synthesizer moved no less an authority than Glenn Gould to call it “the finest performance of any of the Brandenburgs — live, canned, or intuited — I’ve ever heard.”

In this footage, more than half a century old as it is, only an evident skill at operating the Moog and understanding of the principles of synthesizers suggest Carlos’ identity. At that time in her career she was still known as Walter Carlos, and she has since spoken of having maintained that image by applying a pair of fake sideburns for public appearances. (She would return to the BBC to do another Moog demonstration as Wendy nineteen years later.) Today one dares say those mutton chops look a bit obvious, but it isn’t as a master of disguise that Carlos has gone down in history. Rather, her work has showed the way for generations of musicians, well outside of campus laboratories, to make use of electronically generated sounds in a manner that resonates, as it were, with the wider listening public.

Related Content:

Watch Composer Wendy Carlos Demo an Original Moog Synthesizer (1989)

Leonard Bernstein Introduces the Moog Synthesizer to the World in 1969, Playing an Electrified Version of Bach’s “Little Fugue in G”

Hear Glenn Gould Sing the Praise of the Moog Synthesizer and Wendy Carlos’ Switched-On Bach, “the Record of the Decade” (1968)

The Scores That Electronic Music Pioneer Wendy Carlos Composed for Stanley Kubrick’s A Clockwork Orange and The Shining

Bob Moog Demonstrates His Revolutionary Moog Model D Synthesizer

How the Moog Synthesizer Changed the Sound of Music

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Muhammad Ali Explains Why He Refused to Fight in Vietnam: “My Conscience Won’t Let Me Go Shoot My Brother… for Big Powerful America” (1970)

In April of 1967, Muhammad Ali arrived at the U.S. Armed Forces Examining and Entrance Station in Houston, Texas. “Standing beside twenty-five other nerve-racked young men called to the draft,” writes David Remnick at The New Yorker, Ali “refused to respond to the call of ‘Cassius Clay!’” Offered the choice of going to Vietnam or to jail, he chose the latter “and was sentenced to five years in prison and released on bail.” Ali lost his title, his boxing license, his passport, and — as far as he knew at the time — his career. He was newly married with his first child on the way.

When Ali refused to go to Vietnam, he was “already one of America’s greatest heavyweights ever,” notes USA Today. “He’d won an Olympic gold medal for the United States in Rome when he was just 18 and four years later, against all odds, defeated Sonny Liston to win his first title as world champion.” Ali, it seemed, could do no wrong, as long as he agreed to play a role that made Americans comfortable. He refused to do that too, becoming a Muslim in 1961, changing his name in 1964, and speaking out in his inimitable style against racism and American imperialism.




Ali stood on principle as a conscientious objector at a time when resisting the Vietnam War made him extremely unpopular. Sports Illustrated called him “another demagogue and an apologist for his so-called religion” and pronounced that “his views of Vietnam don’t deserve rebuttal.” Television host David Susskind called him “a disgrace to his country” and even Jackie Robinson felt Ali was “hurting… the morale of a lot of young Negro soldiers over in Vietnam.”

Robinson gave voice to a sentiment one hears often from critics of politically outspoken athletes: “Cassius has made millions of dollars off of the American public, and now he’s not willing to show his appreciation to a country that’s giving him, in my view, a fantastic opportunity.” But the country also gave Ali the opportunity to take his case to the Supreme Court, as his lawyer told Howard Cosell in the ABC news segment at the top. “Ali had no intention of fleeing to Canada,” DeNeen L. Brown writes at The Washington Post, “but he also had no intention of serving in the Army.”

Ali strung together a living giving speaking engagements at anti-war events around the country for the next few years as he fought the verdict. It was hardly the living he’d made as champion. But “my conscience won’t let me go shoot my brother, or some darker people, or some poor hungry people in the mud for big powerful America,” he said. “And shoot them for what? They never called me [the N word], they never lynched me, they didn’t put no dogs on me, they didn’t rob me of my nationality, rape and kill my mother and father…. Shoot them for what? How can I shoot them poor people? Just take me to jail.”

Ali remained prominently in the public eye throughout his appeal. He had become a “fixture on the TV talk show circuit in the precable days of the 1960s and ‘70s,” writes Stephen Battaglio in a LA Times review of the recent documentary Ali & Cavett. He remained so during his hiatus from boxing thanks in no small part to Dick Cavett, who had Ali on frequently for everything from “serious discussions of race relations in the U.S. to playful confrontations aimed at promoting fights.” Cavett’s show “provided a comfort zone for Ali, especially before he became a beloved figure.” And it gave Ali a forum to counter public slander. In the clip above from 1970, he talks about how his sacrifices made him a credible role model for troubled young people.

He seems at first to compare himself to early American pioneers, Japanese kamikaze pilots, and the first astronauts when Cavett asks him about the possibility of going to jail, but his point is that he thinks he’s paying a small price compared to what others have given up for progress — “We’ve been in jail 400 years,” he says. “The system is built on war.” The following year, the Supreme Court would dismiss the case against him, swayed by the argument that Ali opposed all war, not just the war in Vietnam. He saw Cavett as a worthy sparring partner, helping the late-night host earn a place on Nixon’s list of enemies. It would become a place of honor in the coming years as Ali won back his career, his reputation, and his title in the “Rumble in the Jungle” four years later, and the Vietnam War became a cause for national shame.

Related Content: 

Muhammad Ali Gives a Dramatic Reading of His Poem on the Attica Prison Uprising

“Muhammad Ali, This Is Your Life!”: Celebrate Ali’s Life & Times with This Touching 1978 TV Tribute

When Jack Johnson, the First Black Heavyweight Champion, Defeated Jim Jeffries & the Footage Was Banned Around the World (1910)

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Kermit the Frog Gives a TED Talk About Creativity & the Power of “Ridiculous Optimism”

In 2015, 3.8 billion years after “creativity emerged” out of “sheerest emptiness,” Kermit the Frog was tapped to give a talk on creativity at TEDxJackson.

How did a local, one-day event manage to snag such a global icon?

Roots.

The famed frog’s creator, Jim Henson, spent his first decade in Mississippi (though Kermit was born of a ping pong ball and Henson’s mother’s old coat after the family relocated to Maryland.)




The conference took place 15 years after Henson’s untimely death, leaving Kermit to be animated by Steven Whitmire, the first of two puppeteers to tackle a role widely understood to be Henson’s alter ego.

The voice isn’t quite the same, but the mannerisms are, including the throat clearing and crumpled facial expressions.

Also present are a number of TED Talk tropes, the smart phone prompts, the dark stage, projections designed to emphasize profound points.

A number of jokes fail to elicit the expected laughs … we’ll leave it up to you to determine whether the fault lays with the live audience or the material. (It’s not easy being green and working blue comes with challenges, too.)

Were he to give his TED Talk now, in 2021, Kermit probably wouldn’t describe the audience’s collective decision to “accept a premise, suspend our disbelief and just enjoy the ride” as a “conspiracy of craziness.”

He might bypass a binary quote like “If necessity is the mother of invention, then creativity is the father.”

He’d also be advised to steer clear of a photo of Miss Piggy dressed as a geisha, and secure her consent to share some of the racier anecdotes… even though she is a known attention hog.

He would “transcend and include” in the words of philosopher Ken Wilber, one of many inspirations he cites over the course of his 23-minute consideration of creativity and its origins, attempting to answer the question, “Why are we here?”

Also referenced: Michelangelo, Albert Einstein, Salvador Dali, Charles Baudelaire, Zen master Shunryū Suzuki, mathematician Alfred North Whitehead, author and educator, Sir Ken Robinson (who appears, briefly) and of course, Henson, who applauded the “ridiculous optimism” of flinging oneself into creative explorations, unsure of what one might find.

He can’t wander freely about the stage, but he does share some stirring thoughts on collaboration, mentors, and the importance of maintaining “beginner’s mind,” free of pre-conceptions.

How to cultivate beginner’s mind?

Try fast forwarding to the 11:11 mark. Watch for 20 seconds. It’s the purest invitation to believe since Peter Pan begged us to clap Tinker Bell back to life.

Do you? Because Kermit believes in you.

Related Content: 

Witness the Birth of Kermit the Frog in Jim Henson’s Live TV Show, Sam and Friends (1955)

Watch Blondie’s Debbie Harry Perform “Rainbow Connection” with Kermit the Frog on The Muppet Show (1981)

Jim Henson’s Commercials for Wilkins Coffee: 15 Twisted Minutes of Muppet Coffee Ads (1957-1961)

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Follow her @AyunHalliday.

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