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  [47]The Daily Beast The Daily Beast

Sex, Deceit, and Scandal: The Ugly War Over Bob Ross’ Ghost

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      Bob Ross
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  Alston Ramsay
  May 17, 2021, 3:50 AM·57 min read
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      Bob Ross
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  Bob Ross Estate
  Bob Ross Estate

  Bob Ross is everywhere these days: bobbleheads, Chia Pets, waffle
  makers, underwear emblazoned with his shining face, even energy drinks
  “packed with the joy and positivity of Bob Ross!” Whatever
  merchandising opportunity is out there, kitsch or otherwise, it’s a
  safe bet his brand-management company is on it—despite his having
  shuffled off the mortal coil more than 25 years ago.

  He’s also a smash hit on social media, where he feels more like [48]a
  Gen-Z influencer than a once semi-obscure PBS celebrity who rose to
  fame in the 1980s on the back of his bouffant hairdo, hypnotic singsong
  baritone, and a timeless message about the beauty of the world around
  us. His [49]official YouTube page has logged close to half a billion
  views. He’s been satirized by the comic-book anti-hero Deadpool, the
  world-infamous street artist Banksy, and even [50]Jim Carrey as Joe
  Biden on Saturday Night Live.

  If that weren’t enough, he’s hawking Mountain Dew in a new CGI
  commercial that’s right on the edge of the uncanny valley, and Netflix
  has a feature-length documentary about him due this summer by the
  prolific [51]actor-producer Melissa McCarthy.

  Yes, Bob Ross is a beacon of light in an ever-darkening world—an
  endless stream of soothing bon mots perfectly at home in the
  meme-and-merchandise internet era.

  He was also recently in federal court. Or, to be more precise, his
  eponymous company Bob Ross, Inc., was. Now run by the daughter of Bob’s
  original business partners—Annette and Walt Kowalski—Bob Ross, Inc.,
  was defending itself against claims that it had made millions of
  dollars by illegally licensing Bob’s image over the last decade,
  expanding far beyond the company’s original core business of selling
  Bob Ross-themed paints and paint supplies.

  The broad contours of the case revolved around the nuances of
  intellectual property law and were nothing new in the world of legal
  bickering over celebrity estates. The details, on the other hand,
  resided in the land of the unbelievable—incorporating deathbed
  marriages, last-minute estate changes, CIA-style tape recordings, and
  even a real-life former CIA agent.
  (BUTTON) Story continues

  It was all made even more bizarre by the plaintiff who filed suit:
  Bob’s very own son Steve Ross, a long-standing superstar in the
  sub-universe of Bob Ross fandom who had largely dropped off the face of
  the Earth after his father’s death—and was even rumored to have met his
  own demise some years earlier.

  [52]Ellen DeGeneres’ Farewell Tour Is Already a Whiny, Tone-Deaf
  Disaster

  Stranger still, it wasn’t the company’s first brush with federal and
  other lawsuits. Although, under the leadership of the Kowalskis, Bob
  Ross, Inc., was usually on the delivering, rather than receiving, end
  of said lawsuits.

  In fact, in the months immediately following Bob’s death in the summer
  of 1995, Annette and Walt had launched a series of lawsuits and
  financial claims against Bob’s estate, his widow, his half-brother, and
  a dermatologist in Indiana who moonlit as the writer-producer of a
  short-lived PBS children’s show about a talking tree in which Bob had
  posthumously appeared.

  All in all, the strategy was designed to gain total control of Bob’s
  afterlife—despite Bob’s clear intent otherwise. One of Bob’s close
  friends took to calling the effort “Grand Theft Bob,” and for 25 years,
  until now, the story has been known only to a handful of people who
  were often too scared to speak lest they, too, be the subject of a
  well-financed lawsuit courtesy of Bob Ross, Inc.

  The following account is based on primary documents and interviews with
  more than 30 people who knew Bob personally or worked alongside him in
  the hobby-art industry—including family members, fellow TV artists,
  business associates, and competitors.

PART I: MAKING BOB ROSS

  To fully understand the genesis of the alleged “Grand Theft Bob,” and
  how it was ironically responsible for Bob’s recent meteoric pop-culture
  renaissance, one has to first understand the business behind Bob
  Ross—and the origins of the company that bears his name.

  That story begins not in the sleepy pre-Disney town of Orlando,
  Florida, where Bob was raised. Nor does it begin in the backwaters of
  Muncie, Indiana, where almost all 403 episodes of his international
  smash-hit television show The Joy of Painting were filmed. Nor was it
  in the bustling suburbs of Washington, D.C., where Bob Ross, Inc., was
  founded and still resides.

  Rather, the business of being Bob Ross begins in the quaint lakeside
  hamlet of Coeur d’Alene, Idaho. And it starts with a chance encounter
  between then-U.S. Air Force Master Sergeant Robert Norman Ross and a
  former Nazi conscript named Wilhelm “Bill” Alexander.

  The year was 1978, and, after a deployment in Thailand at the tail end
  of the Vietnam War, Bob had spent the last several years at Fairchild
  Air Force Base in Spokane, Washington, just down the road from Coeur
  d’Alene. Even though his days were packed with the long hours of a
  first sergeant—and raising his son Steve as a single father—he still
  found time to pursue his longstanding passion of painting. A passion
  that had been turbo-charged when, shortly after returning stateside, he
  had encountered Bill Alexander just as millions of others had at the
  time: on PBS, where Bill had pioneered an entirely new style of oil
  painting in which he could crank out a landscape in less than thirty
  minutes—the Alexander technique of “wet-on-wet” painting.

  “It almost made me angry the first time I saw Alexander on TV,” Bob
  later explained in the first season of The Joy of Painting. “That he
  could do in a matter of minutes what took me days to do.”
  <div class="inline-image__caption"><p>Bob Ross and Bill
  Alexander</p></div> <div class="inline-image__credit">Handout</div>
  <div class="inline-image__caption"><p>Bob Ross and Bill
  Alexander</p></div> <div class="inline-image__credit">Handout</div>

  Bob Ross and Bill Alexander
  Handout

  Luck would have it that Bill was teaching a seminar less than an hour
  from Bob’s post. That’s how he found himself attending his first
  workshop on the Alexander technique. Not only was it a chance to learn
  from the master himself, it was also a job opportunity. Bob was a few
  years shy of retirement from the military, and he knew exactly what he
  wanted to do next: apprentice for Bill.

  On paper, the two might have seemed like an odd couple. Bob was a tall,
  lanky, all-American, red-blooded military man who drove fast cars,
  loved fast women, drank scotch on the rocks, and smoked Salem Greens
  and Marlboro Reds. He was laser-focused, detail-oriented, and driven to
  excel.

  Bill, on the other hand, was a short, stocky German immigrant with a
  neck like a linebacker’s, fingers like sausages, and about as much
  energy as the sun. He was incredibly warm, gave out hugs like candy,
  and was often generous to a fault. His motto, in life as in painting,
  was that you can’t have the light without the dark.

  He had already had more than his share of the dark, witnessed firsthand
  on the killing fields of Europe. Bill had had no desire to join the
  military, but the Nazi war machine mandated the service of everyone who
  could fight—including a carefree, wandering artist like he was at the
  time. He ended up serving on both the Eastern and Western Fronts, was
  wounded in action, and eventually found himself in an American POW camp
  in France. He ingratiated himself with the American officers the only
  way he knew how: by painting portraits of them and their family
  members. Those men later helped him emigrate to Canada, and from there
  he made his way to the United States.

  Ever since the war, Bill considered every day a blessing just to be
  alive. Especially now that, in the late 1970s, he had found fame and a
  little fortune as a PBS painting celebrity so famous that the following
  year he’d win an Emmy for his TV show, The Magic of Oil Painting.

  As much as Bob and Bill may have appeared radically different on the
  surface, on a more fundamental level, it’s not hard to see why they hit
  it off. Both had military backgrounds—and no small misgivings about
  that. Both were easy to laugh and quick to crack a joke, often of the
  ribald variety. Both were born showmen and storytellers given over to
  exaggeration bordering on fancy.

  Perhaps most importantly, they both had an inestimable awe of Mother
  Nature and all of her creations—from the trees and lakes of their
  paintings, to the various animals that later roamed their respective
  homesteads.

    IFRAME: [53]//www.youtube.com/embed/VzN0O6W313Y

  When the workshop ended, Bob was a changed man in two critical
  respects. The first was that his passion for painting had turned into
  an obsession. Shortly thereafter, he was sent north to Eielson Air
  Force Base in Fairbanks, Alaska—and every last minute of his free time
  was consumed by art and business and the business of art. He sketched
  greeting cards. He donated paintings for fundraisers and visiting
  dignitaries. He developed an entire venture around landscape paintings
  on gold pans—precisely the Alaskan-themed keepsake that sold like
  hotcakes to tourists and locals alike.

  The second, and not unrelated, change in Bob’s life was more practical:
  a job offer to work for Bill’s company when he got out of the military.
  Bill wanted more instructors to fan out across the country and spread
  the Gospel of Bill—as well as help sell his line of custom-made
  products for the Alexander technique: over-sized brushes, a palette
  knife of Bill’s own design, and the base “Magic White” paint that was
  the foundation of the Alexander technique.

  When Bob hit his 20 years of active duty, he hung up his uniform and
  was free of Uncle Sam’s grip for the first time since he had enlisted
  at age 18. “I made a deal with my wife,” he later explained to the
  Orlando Sentinel. “I asked for one year. If I ran out of money before
  that, I’d get a real job and we’d act like normal people. I never went
  home.”

  He left Steve behind with his second wife, Jane, a Defense Department
  civilian, and headed into the unknown.

  After several months of manual labor mixing and canning paints at
  Bill’s headquarters in Salem, Oregon, Bob finally hit the road as one
  of Bill’s two traveling master apprentices to spread Bill’s
  technique—and sell his line of “Magic” paint products.

  Life as a traveling art instructor was anything but easy. Bob was on
  the road north of eight months a year. He’d show up at a cheap hotel
  ballroom—or a church, or a civic center, or one of the countless
  mom-and-pop hobby-art stores that dotted the nation in the days before
  Michaels and Hobby Lobby. Upon arrival, he’d cover the tables, set up
  workstations, collect the $20-30 class fee, sell paint supplies, and
  then teach the actual class. At the end of the day, he’d break it all
  down, pack up, and move on. Rinse, repeat. Rinse, repeat.
  <div class="inline-image__credit">Handout</div> <div
  class="inline-image__credit">Handout</div>
  Handout

  Bob had long mastered the basics of the Alexander technique, but now it
  was time to master the performative element. Bill had developed a
  particular vernacular centered around “happy little” anything,
  “almighty” everything—and he exhorted his audience to “Fire in!” with a
  bombastic gusto that felt like encouragement by sheer brute force. Bill
  expected his apprentices to use the same language that had struck such
  a chord with his audience.

  Bob honed his banter in workshop after workshop—just as Bill had done
  years earlier—but he did so in his far mellower voice with his own
  evolving laid-back style. Call it encouragement by purring
  self-affirmation. He billed himself as “The Happy Alaskan”—a play on
  Bill’s nickname “The Happy Painter,” a moniker Bob would eventually
  assume for himself. He embraced Bill’s “happy little” verbiage even as
  he dropped Bill’s aggressive “Fire In!” tagline.

  For the time being, Bob was fully bought in with his role as Bill’s
  disciple—and keen to give Bill the credit he deserved. Bob dedicated
  his second how-to book to Bill in glowing terms:

  In an age when it’s said that there are no heroes, I feel most
  fortunate to have been inspired and influenced by a giant in the field
  of art—Bill Alexander. He has been my mentor and friend and has been so
  instrumental in all that I have accomplished.

  That sentiment, however, would not last much longer. And the turning
  point, or the start of it at least, came through a horrific turn of
  events—one that, in another irony, truly set Bob on his multi-decade
  ascent.

  The event that in many ways kickstarted Bob Ross, Inc., was any
  parent’s worst nightmare: the loss of a child. In the summer of 1981,
  right as Bob was mustering out of the Air Force, that nightmare came
  true for Annette and Walt Kowalski, parents of five living a modest
  middle-class life on the outskirts of Washington, D.C.

  The Kowalskis had married young and started a family in short order
  with five kids in only nine years. Walt worked for the Central
  Intelligence Agency, and those who know him said he sometimes told
  tales from his time in the Agency, from a gory anecdote about eating
  monkey brains with Vietcong, to taking a Cold War victory lap around
  the Kremlin on a work trip with Bob many years later. According to
  those same people, Walt’s defining feature—what jumped out immediately
  upon meeting him—were his eyes. Eyes that were cold and calculating.
  Shark’s eyes.

  But yet, that coldness coexisted with another attribute everyone
  flagged: his utter devotion to his wife, and his willingness to do
  anything for her. That devotion came out in spades after their oldest
  son was killed in a car accident at the heartbreaking age of 25.

  Annette fell into a depression, the sort that left her in an almost
  catatonic state. “All I could do was lay on the couch and watch
  television,” she later told [54]FiveThirtyEight,

  And that’s how she, like Bob, first became aware of Bill Alexander as
  he pummeled his canvas with his giant brushes and told her she could do
  and be anything she wanted, that the world was a happy little place
  full of wonder and awe. It was a ray of sunlight in the dark and
  tumultuous storm that had enveloped her, a glimmer of hope in an
  otherwise hopeless existence.

  Desperate to help his wife, Walt called up Bill’s company to find a
  workshop she could take. Alas, there weren’t any with the master—but
  one of Bill’s instructors was teaching a class in Clearwater, Florida.
  That instructor’s name was Bob Ross, and of course neither of the
  Kowalskis had heard of him. No one had.

  “Get up, get in the car, we’re going,” Walt ordered. Annette did as she
  was told, and they drove 1,000 miles south to the outskirts of Tampa to
  meet this so-called Bob Ross.

  She showed up at the hotel at the appointed time along with a few dozen
  other students. Bob arrived and told them about his background, how he
  had trained with Bill, and what he loved about painting.

  By this point, Bob had shed his military bearing and become a true man
  of the ’80s—with a bit of a hippy ’70s throwback vibe for good measure.
  He had ditched the windswept James Dean haircut that he’d carried since
  he was a teen and was instead sporting the frizzy man-perm about which
  so much ink would later be spilled. At the time, it wasn’t nearly at
  the literal heights it would eventually reach—and nor was it part of
  any clever forward-looking marketing scheme. Rather, in the early 1980s
  perms were in style—for men and women—and a Florida hairdresser had
  convinced Bob it was particularly low-maintenance.

  Annette was smitten at first sight. “I was so mesmerized by Bob,” she
  [55]later explained to NPR. “Somehow, he lifted me up out of that
  depression. I just think that Bob knew how to woo people. I said,
  ‘Let’s put it in a bottle and sell it.’”
  <div class="inline-image__caption"><p>Walt and Annette
  Kowalski</p></div> <div class="inline-image__credit">PBS</div> <div
  class="inline-image__caption"><p>Walt and Annette Kowalski</p></div>
  <div class="inline-image__credit">PBS</div>

  Walt and Annette Kowalski
  PBS

  She and Walt propositioned Bob to come to D.C. and teach a few classes—
  and he was game for the gig. More work was more work. So they set a
  date for the Kowalskis’ neck of the woods and went their separate ways.

  Jumping headlong into a business venture wasn’t out of the ordinary for
  the Kowalskis. As their daughter Joan Kowalski, now in charge of Bob
  Ross, Inc., explained to The Daily Beast, the two of them had always
  been perpetually in motion, with various side hustles to augment Walt’s
  government salary so they could give all of their children the chance
  to go to college. When opportunity knocked, they always opened the
  door—and here was another one.

  The Kowalskis agreed to pay Bob a stipend and give him room and board
  at their house—and he’d teach all the classes they could arrange.
  Simultaneously, Walt and Annette fronted the costs to buy “Magic”
  painting supplies from Bill’s company, so they’d sell those as well
  during the classes.

  Several months later, Bob showed up in Virginia, and they set off on
  their collective adventure. They roamed the eastern seaboard, hitting
  Philadelphia, Baltimore, and D.C.—and over the next year, they added
  Florida and Indiana to their workshop circuit. Some seminars and
  demonstrations went smashingly well—and others came up woefully short.
  There was even a class with all of one student, whom Bob dutifully
  taught anyway.

  Despite the challenges, they finally started to gain traction as they
  pounded the pavement and figured out the intricacies of the hobby-art
  business. With their newfound knowledge, all they really needed were a
  few breaks to expand beyond the teaching circuit.

  The first came largely as a result of Bill Alexander’s generosity and
  his willingness to help out whenever asked. This was in the form of a
  brief television spot the Kowalskis wanted to run to gin up interest in
  Bob’s classes wherever he might be. Bill and Bob recorded a promo
  during which Bill passed over his brush to Bob as part of their banter.
  “I hand over the almighty brush to an almighty man,” Bill happily
  crooned.

  Later, this literal passing-over of the brush—as well as another
  commercial Bill filmed with Bob—would be made into a much larger
  metaphorical moment when Bill officially designated his successor. In
  reality, it was almost exactly the opposite: an example of the two men
  working together as part of the same company. Bob would get a leg up
  using Bill’s name to sell his services, and Bill would keep expanding
  his company’s reach and spreading the Alexander technique via Bob. Not
  to mention, they’d all sell more of the “Magic” paints that paid
  everyone’s bills. (Although, to be sure, at that time Bill did believe
  that Bob would eventually be his successor at his company when he
  finally put his brush away for good.)

  The second break came as a result of completely random events, one of
  those happy little accidents that seemed to go hand in hand with Bob’s
  rise. In 1983, Bob and Annette were running a workshop in Muncie,
  Indiana, and they approached the local PBS station, WIPB, about
  promoting the class. Sheer luck would have it that WIPB was one of only
  ten PBS stations that had just received permission to run paid
  commercials as part of a short-lived trial to bolster PBS finances. The
  station was more than happy to place the Bob-Bill spot on either side
  of Bill’s show when it aired.

  As a result of the publicity, the workshop was jam-packed—and Bob,
  never one to pass up an opportunity, went back to WIPB and pitched his
  own show, The Joy of Painting. He had tried his hand earlier that year
  in Virginia with an ill-fated 13-episode “series”—PBS nomenclature for
  a season—but the shoddy production quality had led precisely nowhere.

  With WIPB’s support—and Bill’s company financing the series—Bob’s
  second outing with The Joy of Painting was far stronger. WIPB’s
  facilities might have been tiny at the time—they shot in a converted
  living room in a converted Victorian house—but it was far more
  technically advanced than the Virginia station. Gone were the
  production issues that plagued the first series, the canned background
  music Annette had insisted on, and the lack of intro and closing
  credits that the prior station had failed to produce as promised.

  On the creative front, Bob was far better in front of the camera, and
  his plainspoken, down-home vibe was much more in line with the grounded
  sensibilities of a place like Indiana—and, it would turn out, much of
  the rest of the country. Once again, he gave credit where credit was
  due and dedicated the series to Bill and the “precious gift” he had
  given him.

  The series was picked up by around 40 other PBS stations—a modest but
  successful showing. Momentum came quickly, though, as subsequent series
  rocketed past 100 stations and then to 200 and beyond within a few
  years.

  As his geographic footprint expanded by leaps and bounds, Bob quickly
  established himself as one of the top working TV artists. He became a
  fixture at the PBS and art-supply conventions where the industry
  gathered several times a year, although Bill was still the brightest
  star.

  For Bob, there may not have been a single moment where he pivoted from
  his role as an apprentice to the desire to become the master. It was
  more likely a slow burn as opportunities presented themselves, as doors
  started to creak open.

  Bob may have had the soul of an artist, but he also had the mind and
  discipline of a master sergeant. As much as painting was a passion, it
  was also a profession, and the “happy buck”—as Bill always called
  it—had a lure all its own. Bob was under no illusions that he was
  making a living off of his raw artistic talent. It was the fact that
  he—and the Kowalskis, and Bill Alexander—were hawking paints,
  paintbrushes, and how-to books. They were in the art business, and a
  business it most certainly was.

    IFRAME: [56]//www.youtube.com/embed/2zv_S_uVoVQ

  No one knew that better than Dennis Kapp, the owner and CEO of the
  art-supply company Martin F. Weber. Dennis was always on the lookout
  for up-and-coming talent with whom he could partner, and Bob’s style
  and demeanor appealed to his own aesthetic preference for “happy art.”
  Seeing an opportunity, he approached Bob at a tradeshow and invited him
  to coffee—and, [57]according to Dennis, they made a deal right then and
  there.

  In short order, they set to the task of creating a line of Bob Ross
  products. It helped that they weren’t trying to reinvent the wheel.
  Quite the opposite, in fact. All they appeared to be doing was copying
  Bill’s product line almost to a tee, from their own version of Bill’s
  basecoat “Magic White,” to the same lineup of brushes that Bill had
  created over many years of trial and error, to Bill’s revered
  over-sized palette knife. When the Bob Ross line was eventually
  released, there were only minuscule differences between it and Bill’s
  core products.

  In early 1985, the die was finally cast. Bob and Jane Ross, and Annette
  and Walt Kowalski, officially filed incorporation papers in Virginia
  for Bob Ross, Inc. All four were technically equal partners, although
  most knew that Bob was the decision-maker. He was the figurehead, the
  talent, the name, the face behind it all. Without him, the company was
  little more than a few pieces of worthless paper (or so it may have
  seemed at the time).

  With the corporation live, and Martin F. Weber developing a product
  line, it was just a matter of time before their official launch. As
  1985 progressed, Bob kept up his commitments to Bill’s company—and kept
  his new venture secret. The subtlest of shifts marked the new order: at
  the start of his seventh series in late 1985, rather than refer to
  Bill’s “Magic White,” Bob called it “liquid white”—his version of the
  same product.

  A close artist friend of Bill’s, Robert Warren, recalled the exact
  moment when Bill found out that Bob had struck out on his own. Bill, a
  man of 70 long years, who had survived hell on earth and vowed to be
  thankful for every day thereafter—a man whose happiness buoyed all
  around him—that same Bill Alexander broke down and cried.
  <div class="inline-image__credit">Handout</div> <div
  class="inline-image__credit">Handout</div>
  Handout

  “It was horrible, it was heartbreaking,” Robert explained to The Daily
  Beast. “It was like he lost his son.”

  “It broke his heart, and he never spoke to him again.”

  Bill wasn’t the only one who felt burned by the Rosses and Kowalskis as
  they consolidated their control over the TV-art industry. Like Bill,
  some other artists in the business were more likely to view their
  colleagues as collaborators rather than competitors. They were dismayed
  by what had happened to Bill, and, later, they saw a similar playbook
  deployed when Annette launched a line of floral painting products that,
  in their view, bore an uncanny resemblance to the widely recognized
  masters of floral painting at the time, Gary and Kathwren Jenkins. It
  was as if a shark had been released among the genteel guppies of the TV
  art world.

  “You know, it’s a business,” Joan told The Daily Beast with regard to
  the company’s reputation among some of the other artists. “When you
  start a business from scratch, you sort of decide your parameters based
  on the desired effect,” she added.

  The sharp-elbowed parameters the founders apparently decided on,
  combined with Bob’s prodigious talent, allowed Bob Ross, Inc., to
  become the 800-pound gorilla of the hobby-art world. Even so, Bob
  usually floated above the fray. He had explicitly given up screaming
  and yelling when he retired from the military, so he was happy to let
  Walt handle the dirty work. In meetings over contract negotiations, for
  example, Bob would kindly defer to “Uncle Walt” rather than play the
  hammer himself if a contentious point arose.

  That’s not to say Bob wasn’t a shrewd businessman. He wrote contracts
  and reviewed them. He was a stickler on product development, and Joan
  allowed that Bob could be “kind of a terror” about some aspects of the
  business. In her interview [58]with NPR years later, Annette called him
  a “tyrant.” She caught herself and elaborated: “Do you really think
  this company would be as successful as it is, if he didn’t insist that
  everything be done a certain way?”

  And successful it was. The Joy of Painting became one of the top shows
  on PBS nationwide. Not only did Bob become a bona fide celebrity with
  appearances on the Grand Ole Opry, Regis and Kathy Lee, and Donahue,
  among many other pop-culture moments, but the fame also hit the bottom
  line.

  By the end of the 1980s, records made public as part of Steve’s lawsuit
  show that each of the four partners was making around $85,000 ($180,000
  today). Several banner years in the early 1990s saw Bob take in around
  $120,000 ($220,000 now). All in all, the company was generating around
  a half-million dollars each year for the partners to divide.

  Bob was by no means driven by money, as everyone who knew him strongly
  attests. But the newfound financial freedom did afford him the luxury
  to lead his life how he wanted. He returned to his roots in the Orlando
  area, where he pursued various hobbies that were a mishmash of his
  Florida heritage and his artistic achievements. He devoted untold
  amounts of time and money to rehabilitating injured critters. He
  collected Victorian opalescent glass. And he tore through the streets
  in his silver 1969 Corvette with its vanity “BOB ROSS” license plate,
  part of his lifelong love affair with hotrods.

  Bob also started to dream bigger. He pondered ways to use his fame to
  launch new ventures, to reach new levels of stardom from which he could
  leave a positive impact on the world. By the early 1990s, he was
  working out the details of a children’s TV show he intended to call
  Bob’s World—which would be, as the New York Times [59]explained it, “a
  wilderness version of Mr. Roger’s Neighborhood.”

  He also pursued another intriguing opportunity in Branson, Missouri, a
  tourist mecca that was akin to the Las Vegas of the South at the time.
  Bob teamed up with an Indiana family that was about to break ground on
  a theater there, and they began developing a stage version of The Joy
  of Painting to accompany their Civil War musical.

  Not everyone was as excited by Bob’s new ventures. Even as his fame
  reached new heights, the partnership that had made it all possible—the
  Rosses and the Kowalksis—began to crumble and then utterly collapse as
  it morphed into a fight for control of Bob’s name and likeness.

  The downward trajectory appears to have started in 1992, when Bob’s
  second wife died of cancer. As a result of the company’s structure, her
  stock was divided equally among the surviving three partners. Thus,
  after her death, Bob only owned one-third of the company that bore his
  name—a situation that could not have sat well with a man who was used
  to being in charge.

  There were other issues that added to the growing strains, such as
  Bob’s sometimes messy personal life. From his earliest days, he had
  issues with fidelity—like his father before him. He had fathered a
  child as an unmarried teen, and his first marriage had fallen apart
  over affairs. He was also said to have squeezes in various places over
  the years, as did many traveling TV artists of the time.

  Regardless, the real spark that led to the final conflagration with the
  Kowalskis was Bob’s declining health. Although he was as tough as they
  come, his health had been a chronic issue—so much so that, for years,
  he had been convinced he’d die early. He had had a heart attack in the
  mid-1980s, and in early 1994, he faced his second—and final—battle with
  cancer.

  Right after Bob learned about his lymphoma and its grim prognosis, and
  only a handful of days before his final Joy of Painting episode aired,
  he received a fax from Walt that was, for all intents and purposes, a
  declaration of war. It was a six-page contract, full of legalese and
  posturing, all with a single purpose: complete and total ownership over
  Bob Ross, his name, his likeness, and anything and everything he had
  ever touched or created—forever.

  In other words, if Bob signed the contract, Bob Ross, Inc., would
  retroactively own much of which he had created throughout his entire
  life—and be able to use his name to sell any products in the future.

  Walt was not suggesting he sign over all these rights for free. In
  exchange, he offered the whopping sum of 1 percent of revenues to him
  or his heirs—for the next decade.

  It was an audacious ask, a brazen attempt to push Bob to do something
  he was likely never going to do. Needless to say, as his days dwindled,
  Bob did not sign that or any other similar contract with Bob Ross, Inc.
  According to Steve, there were, however, countless irate phone calls
  between Bob and Walt as they argued and fought over the company’s
  future—and as Bob became sicker and sicker. Steve recalls many a time
  when Bob would slam the phone into the receiver before emerging from
  another room steaming-hot mad and ranting about how the Kowalskis
  wanted to own his name and everything associated with it.

  [60]The Japanese Photographer Who Captured David Bowie’s Ethereal
  Beauty

  Again, Joan told a different version, even though she admitted she was
  quite young at the time and fairly junior at the company so may not
  have been in the loop. “I remember no tension whatsoever,” she told The
  Daily Beast.

  As 1995 dawned, Bob’s trajectory was steadily downward. Even as he
  fought the advancing cancer, he set other plans in motion to thwart the
  Kowalskis. He made a blizzard of last-minute changes to his will, most
  notably inserting a clause specifically addressing his name, likeness,
  and the rest of his intellectual property. All of those rights were to
  go to Steve and one of Bob’s half-brothers.

  Those weren’t the only changes to Bob’s will. Whereas the year before,
  Annette had been in direct line to administer his estate, now she was
  nowhere to be seen. Instead, Bob’s third wife, whom he married only two
  months before he died, came to occupy a prominent place in the estate.

  The end came swiftly and slowly at the same time, as it so often does
  for cancer patients. Bob lost his hair—his defining feature for so many
  years—and rapidly shed weight. Steve returned home to help out, just as
  Bob had returned to Florida to take care of his mom when she was dying.

  “He believed in God,” Steve explained to The Daily Beast. “But he did
  not believe in what God was being used for by the priests.” Steve
  inherited his father’s faith—a theology based outside of formal
  religion and all of its strictures. A faith based in the natural world
  and its myriad wonders.

  “God is inside everything, including us,” he said. “We are part of God,
  and the vibration of God is within us.”

  On July 4, 1995, Bob Ross felt that vibration as he became part of his
  God.

  The funeral was small, around 25 of Bob’s closest friends and family
  members at Woodlawn Cemetery, a vast tract of rolling land in the
  suburbs west of Orlando. After paying their respects in the chapel, the
  funeral party made its way to the gravesite, where they entombed Bob’s
  gleaming aluminum coffin beside his mother and father.

  The coffin may have been a Rolls Royce of burial devices, but the
  tombstone was anything but. It was small, flat, and generally
  inconspicuous. On it were a logo of Bob’s frizzy-headed smiling visage
  known around the world, his name, birth date, death date, and only two
  tiny words to sum up everything about his incredible life: “Television
  Artist.”
  <div class="inline-image__credit">Courtesy Alston Ramsay</div> <div
  class="inline-image__credit">Courtesy Alston Ramsay</div>
  Courtesy Alston Ramsay

  There was one conspicuous absence at the service that registered as odd
  even for those who didn’t know anything about Bob’s business, his
  long-standing business partners, or the enmity between them over the
  last year and particularly the last few months.

  None of the Kowalskis attended the funeral. Not Annette, not Walt, and
  not Joan. They did, however, send flowers.

  And in a few short months, they’d also send lawsuits.

PART II: WITH FRIENDS LIKE THESE

  “Are you shitting me?”

  Robert Warren was seeing red, and it wasn’t the alizarin-crimson paint
  on his palette. It was July 4, 1995, and as he recalled to The Daily
  Beast, a hotel manager interrupted his class and passed over a phone
  for an urgent call.

  “Are you shitting me?” he repeated, as rage overtook his initial shock.

  According to Robert, Dennis Kapp, the head of the paint manufacturer
  Martin F. Weber, was on the other end of the line—and he had just
  passed along the terrible news of Bob Ross’s death. But that wasn’t the
  real reason for the call. Dennis had a problem on his hands.

  Over the past number of years, Bob Ross products had become a dominant
  force on his balance sheets. With Bob gone only a few hours, Dennis had
  a question for Robert—who was friends with both Bob and Bill Alexander
  as well as one of the better-known TV artists of the time. Dennis
  wanted to know if Robert would be willing to take over Bob’s TV show.
  In effect, to become the frontman for the Martin F. Weber art-supply
  company.

  “Are you shitting me?” he said once again, far louder, as a few dozen
  students looked on with wide eyes.

  “Bob Ross just dies, and you’re asking me to do this? I can’t even talk
  about this right now.”

  He slammed down the phone on the receiver, his answer a clear and
  resounding “No.”

  Dennis wasn’t the only one pondering the future of a business. With
  Bob’s death, the Kowalskis now owned Bob Ross, Inc., outright—but the
  company was at a crossroads. Its figurehead, the man on whose back the
  whole enterprise was built, was gone. Annette and Walt had to figure
  out what to do now.

  Ultimately, they decided to embark on an aggressive, litigious path
  forward. What the Kowalskis couldn’t get from Bob while he was alive
  through convincing or cajoling—like the contract they had tried to get
  him to sign—they were now going to try to take by brute legal force. It
  didn’t matter if it was his estate, his heirs, or anyone with even a
  passing interest in Bob Ross—all were about to be put on notice that
  Bob Ross, Inc., played hard and played to win.

  One of Bob’s close friends, John Thamm, sensationally took to calling
  their maximalist approach “Grand Theft Bob,” an effort to take what he
  and others did not believe belonged to them. (Efforts to reach Walt and
  Annette directly for comment were not successful, and Joan declined to
  arrange an interview or pass along written questions about business and
  personal decisions they made through the years, especially regarding
  their actions following Bob’s death.)

  After his lymphoma returned, and as Walt and Annette’s efforts to
  pressure him to sign over his rights intensified, Bob had worked
  proactively to ensure that Bob Ross, Inc., didn’t wind up with any of
  his intellectual property beyond what had already been transferred to
  the company.

  That was particularly true when it came to his name and likeness, which
  for obvious reasons was a bit more personal than some of the items the
  company clearly did own, like the copyrights to instructional art books
  or trademarked cartoons of Bob on paint products.

  In his final few months, Bob altered his will to specifically address
  these issues. Most notable was the final amendment he made a mere two
  months before his death. That clause specified that Bob’s “name,
  likeness, voice, and visual, written, or otherwise recorded work” would
  go to his son Steve and his half-brother Jimmie Cox. And if those two
  so chose, the amendment also said they could “deny the exploitation of
  such rights” by anyone else. In a strange twist that would only come to
  light more than 20 years later, Steve was left unaware of the final
  amendment since his uncle Jimmie, the executor of the estate, had not
  shared the details.

  “Any changes that he made in his trust he did because he felt he was
  doing the best thing for his family,” one of his estate attorneys
  emphatically told The Daily Beast. “He was absolutely competent at that
  time. There was no question of his ability to make changes when he did
  it, and his reasoning was as solid as it could be.”

  That reasoning had apparently led Bob to an inescapable conclusion: he
  didn’t want Bob Ross, Inc., or the Kowalskis, to own anything more than
  the limited intellectual property around art products that he had
  already signed over as part of the regular course of their art
  business.

  Although John believes Bob truly wanted his legacy to rest in the hands
  of his son, he also thinks there was another reason for the last-minute
  changes to the will: vindictiveness on Bob’s part. Revenge against the
  Kowalskis for what they had put him through in his final year. For what
  some saw as their efforts to stymie Bob’s new ventures like the
  children’s TV show. For their desire, above all else, to keep him
  forever chained to the corporate husk of Bob Ross, Inc., of which they
  now owned 100 percent.

  The Kowalskis’ first target was Bob’s estate. When Bob died, he was
  worth around $1.3 million, with half of that comprised of his one-third
  ownership of Bob Ross, Inc. Aside from cash and stock, there were also
  physical properties to be divided. And then there was the matter of
  Bob’s actual artwork and art supplies.

  Here the Kowalskis pounced. Through their lawyers, Annette and Walt
  demanded that Bob’s widow Lynda and the estate turn over what they
  considered to be their property—and they took an expansive view of what
  they owned. They ultimately wanted “Bob Ross’s art, all finished
  paintings, work copies used in the development of Bob Ross’s finished
  paintings, and all paints, brushes, easels, canvases, and other
  supplies, materials and tools used by Bob Ross.”

  In other words, they contended that everything Bob had worked on was
  theirs, down to every last paintbrush or easel he had touched.

  When the property wasn’t forthcoming, they slapped Lynda and the estate
  with a lawsuit demanding the items as well as damages, lost profit, and
  attorney fees. In some ways, Bob may have foreseen this maneuver. Upon
  giving a painting to one of his friends after he became sick, for
  example, he had written an explicit message on the back about the
  work’s new owner—because, according to that friend, he was worried the
  Kowalskis would try to repossess it upon his death.

  In addition to the property they said was theirs, the Kowalskis also
  made claims against the estate for business and personal
  reimbursements. It’s a standard part of estate closures to settle
  outstanding debts. For instance, according to probate documents, the
  Mayo Clinic asked for a little more than $40,000 for Bob’s medical
  expenses, and Lynda asked for around $10,000 for Bob’s funeral—two
  standard items one expects to see.

  Aside from those, the only other reimbursement claims were filed by the
  Kowalskis, under the auspices of costs incurred from trips Bob made to
  the Mayo Clinics in Rochester, Minnesota, and Jacksonville, Florida, to
  treat his cancer. Their expenses dated all the way back to April of
  1994, 15 months before Bob died. So the Kowalskis or someone in their
  employ had sifted through a backlog of credit card bills from the past
  year and a half to come up with their figures.

  There were several large expenses they wanted the estate to reimburse
  the company for, like Bob’s plane flights to Rochester or Annette’s
  trips to Florida to visit him. But there were also small expenses like
  $41.63 for a Travelodge in Jacksonville, $14.10 for Shoney’s, $16.92
  for Cracker Barrel, $17.50 for Denny’s.

  Many of the corporate expenses were charged to Bob’s company card, but
  quite a few were on Annette’s. So even though two of the three owners
  of Bob Ross, Inc., were involved in many of these transactions—and
  despite the fact one could argue keeping Bob Ross alive would appear to
  be a legitimate business expense that the company should cover—the
  Kowalskis apparently considered these purely personal expenses so the
  estate should be on the hook.

  The Kowalskis’ expenses weren’t limited to just the company credit
  cards though. In a separate claim, they also demanded reimbursement for
  personal expenses—again for the trips to Rochester and Jacksonville.
  And once more, there were several larger expenses like hotel rooms in
  Rochester, along with others like $15.05 for Red Lobster, $38.10 for
  flowers, or $11.09 at a bookstore in Minnesota.

  If none of these were business expenses, and instead Annette was there
  solely in her capacity as one of Bob’s close friends to support him in
  his time of need—well, with friends like these, who needs enemies.

  There was a larger irony at play, if it can be called that. On one
  hand, when it came to all the paintings in the estate—Bob’s vast corpus
  of work—the Kowalskis argued that, since he was “work-for-hire,”
  whenever he put a brush on a canvas, Bob Ross, Inc., owned his time and
  thus all his creative work. On the other hand, when it came to Bob’s
  health—preserving the person whose name and likeness had made it all
  possible—that apparently had nothing to do with Bob Ross, Inc.

  It was as if the Kowalskis had wanted to have their cake and eat it
  too—and if they could manage it, they apparently wanted Bob Ross to pay
  for the cake. Given the apparent pettiness of it all, it’s no surprise
  that over the years, among Bob’s friends and family, there would be
  rumors that the Kowalskis had asked to be reimbursed for the flowers
  they sent to the funeral and even tried to take control of Bob’s
  corpse. (There’s zero evidence for either of these.)

  One might think that suing a dead man over items like paints and paint
  brushes might be scraping the bottom of the barrel. The Kowalskis
  could, however, go lower. Namely, suing a PBS children’s TV show for a
  half-million dollars as well as the very PBS station, WIPB, that had
  for a decade been home to The Joy of Painting.

  The show in question was a four-part children’s song-and-dance series
  called The Adventures of Elmer & Friends. Bob had appeared as a guest
  star in the first episode via a green screen from Florida since he was
  too ill to travel at the time. He played himself, and in a handful of
  scenes, he helped a troop of wayward children search for a miner’s
  hidden treasure. The miner’s name happened to be “Old Walter,” and as
  Bob explained, Old Walter was long deceased.

  That episode, “Treasure Beyond Measure,” aired two months after Bob
  died. Less than a month later, the Kowalskis filed a federal lawsuit
  against WIPB and the show’s producer, an Indiana dermatologist named
  Terry Marsh. Given Bob’s prominence in Muncie, the filing resulted in
  the cringe-inducing headline in one of the local papers, The Star
  Press: “Bob Ross Inc. sues children’s show”—accompanied by a photo of a
  broadly grinning Bob.
  <div class="inline-image__credit">Handout</div> <div
  class="inline-image__credit">Handout</div>
  Handout

  In addition to demanding the destruction of any merchandise related to
  The Adventures of Elmer & Friends, all profits Terry had reaped, and
  triple the damages Bob Ross, Inc., had allegedly incurred, the suit
  also tacked on $500,000 as a penalty for Terry’s allegedly
  “encouraging, assisting, and cooperating with Bob Ross in the breach of
  his fiduciary duty of loyalty to Bob Ross, Inc.”

  The Kowalskis’ argument went something like this: because Bob had
  consented to specific limited trademark filings, such as a cartoon
  likeness for use on paint products, they now extrapolated that to say
  that Bob’s name and actual likeness—as in, his actual person, and thus
  what had been recorded during the show—was protected by their
  trademarks.

  In other words, Bob Ross, Inc., owned not just Bob’s paintings but Bob
  himself. Or, more precisely, his ghost. “Because Bob Ross appears in
  that video, they are claiming that it is an infringement of their
  trademark,” Terry’s attorney explained to The Muncie Evening Press at
  the time. “We don’t see any problem.”

  To no one’s surprise, the Kowalskis certainly did.

  “We own that name,” Annette snapped to The Star Press. “They’re using
  his name without permission.” Through the media, she also threatened to
  yank WIPB as the presenting station for The Joy of Painting—a threat
  she would ultimately make good on. She piled on, saying that “Bob’s
  last words to me were that he was very, very upset over what Terry had
  done, and he refused to pay him” for his share of the production.

  Annette may have omitted a couple of important details. First,
  according to Terry, it had been Bob’s idea to reimagine the episode in
  question so that Bob could, even in his poor health, participate in the
  filming from afar (the main shoot was at WIPB). And second, given what
  Bob was going through, Terry says he had simply paid the tab himself
  since he didn’t want to bother Bob about money while the man was
  fighting for his life.

  Of course, there was another critical element Annette omitted. And
  certainly one that she and Walt likely didn’t mention when their
  lawyers castigated Bob for his lack of “loyalty” to Bob Ross, Inc.

  It fell in the category of inconvenient truth—and for their lawsuit,
  extremely inconvenient truth. The lawsuit had explicitly said that “Bob
  Ross, Inc., did not consent to Bob Ross’ and to the defendants’
  production of a video cassette recording of or other use of the name
  and likeness of Bob Ross.” Yet in reality, Annette or Walt had
  explicitly given permission to Bob to film the show. And there was an
  actual tape recording of the conversation.
  <div class="inline-image__credit">via The Adventures of Elmer</div>
  <div class="inline-image__credit">via The Adventures of Elmer</div>
  via The Adventures of Elmer

  It turns out that, in his last months, as the chemotherapy and
  radiation took a toll on his memory, Bob had been in the habit of
  recording his phone calls. Which included one in which Annette or Walt
  gave him permission to do the show. This only came to light when Terry
  was on the phone commiserating with Lynda. She knew Bob had been told
  he could do the show, and she provided the tape recording that proved
  it.

  The Kowalskis’ entire case was built on a lie so egregious that Terry’s
  lawyer thought he had a slam-dunk case to go after the Kowalskis for
  filing a blatantly frivolous lawsuit. Terry didn’t want anything to do
  with it though. He just wanted to be done with the Kowalskis. In short
  order, he and WIPB settled the matter.

  Terry had the last word on the whole sordid affair, which he broadcast
  through The Muncie Evening Press: “It was the last work [Bob] did in
  his life and the fulfillment of a lifelong dream [to host a children’s
  TV program]. He was very proud of the show and would have been
  heartbroken had he known his partners had sued to have it destroyed.”

  When the settlement went public, a clever headline writer at The Star
  Press couldn’t resist the perfect Bob Ross pun: “Taped conversation
  paints new picture.” The story led with the old saying that “nobody
  ruins a good story like a witness.”

  The Kowalskis were not going to make the same mistake again. In April
  1997, almost two years after Bob died, Jimmie signed an agreement on
  behalf of Bob’s estate to settle the Kowalskis’ lawsuit. The
  destruction of the audiotapes was one of the key clauses.

  In the final analysis, the Kowalskis’ approach proved to be a winning
  strategy. Few could or would go toe to toe with well-heeled, and
  well-financed, lawyers whose clients had made it clear that there were
  not many levels to which they would not stoop.

  With the lawsuits settled, Bob Ross, Inc., was in the free and clear to
  roll on through the rest of the 1990s. The initial concern that The Joy
  of Painting might fade from the airwaves was quickly put to rest. With
  403 episodes on tap, it really didn’t seem to matter to Bob’s fans, or
  PBS station managers, whether he was alive or dead. On TV at least, he
  had achieved one of his explicit goals in life: to become immortal.

  Finally, in 2012, as Annette and Walt reached their seventies and
  eighties, respectively, they turned over the reins to Joan—and a new
  era began for the business.

  Joan explained to The Daily Beast that her expansion into Bob Ross
  licensing beyond paint products was little more than a happy little
  accident. Much as her parents had kept their nose to the grindstone of
  the paint business while Bob was out there creating a show he
  presciently hoped would last forever, Joan likewise was so close to the
  paint business that she didn’t see the potential for other revenue
  streams centered on Bob.

  [61]How Three Dead Prostitutes Triggered a Wild Satanic Panic

  That is, until a licensing company named Janson Media approached her
  with an offer. The social-media platform Twitch was starting a new
  online channel, and they wanted to launch it with a Bob Ross marathon.
  Joan was leery—as she and her parents had always been about streaming
  since they felt like they’d lose control of The Joy of Painting, the
  crown jewel of the company’s intellectual property. But one of her
  nephews understood the potential. “Aunt Joan, you want to do this,” he
  told her in a Facebook message.

  “It would be a lot of money, which we needed at that point,” Joan said.

  She said yes to the proposal, and in short order the Twitch marathon
  launched Bob Ross into a new stratosphere. “Twitch.TV woke up the
  world,” Joan [62]told the online journal Vocativ in 2015, around the
  time of the marathon. “They made everybody remember their childhood
  again even though we’ve always been here…We are freakin’ out.”

  Years later, she’s more reflective about the rocket ship Twitch
  launched back then. “Yes, we were surprised but not really,” Joan
  explained to The Daily Beast. “Finally, finally, we’re doing what Bob
  wanted” and truly spreading his message to the masses at the scale
  about which he dreamed.

  The Bob Ross renaissance opened up a whole new world of money-making
  opportunities. Janson and a separate brand-management company named
  Firefly super-charged the Bob Ross branding business—and the money
  started rolling in.

  Based on court documents turned over as part of Steve’s lawsuit, in
  2012, when Joan took over, Bob Ross, Inc., brought in less than $200 in
  licensing revenue outside of its paint products. In 2015, that number
  was still only about $40,000, but the following year it rocketed to
  $460,000. And the year after that, 2017, Bob Ross-branded products were
  kicking off well north of a million dollars in licensing fees to Bob
  Ross, Inc., in almost pure profit. It’s a safe bet that number has only
  climbed in the ensuing years, especially now with national corporate
  campaigns like the Mountain Dew commercial.
  <div class="inline-image__caption"><p>Walt Kowalski</p></div> <div
  class="inline-image__credit">Courtesy Bert Effing</div> <div
  class="inline-image__caption"><p>Walt Kowalski</p></div> <div
  class="inline-image__credit">Courtesy Bert Effing</div>

  Walt Kowalski
  Courtesy Bert Effing

  There was only one small issue. As had always been the case, it wasn’t
  entirely clear if Bob Ross, Inc., owned what they were selling since
  the Kowalskis’ lawsuit against and settlements with Bob’s estate left
  some of Bob’s intellectual property—especially the right to use his
  name and likeness for commercial products—in a potential legal gray
  zone. If this were in fact the case, the only way to unmask it would be
  in a court of law. And it would take motivated litigants to go
  head-to-head with Bob Ross, Inc.

  The events that led to Steve Ross’s faceoff with Joan and Bob Ross,
  Inc., started with the third family that had made Bob Ross all that he
  was: the Kapps, whose patriarch Dennis had played a critical role in
  marketing Bob Ross’s paints for more than three decades. Several years
  ago, Joan decided to leave Dennis’s company. “We saw some things in
  that organization that concerned us,” she explained, clearly biting her
  tongue in order not to sling mud. “It was a shrewd and necessary
  business decision.”

  It also immediately blew a hole in Dennis’s balance sheet so big the
  company was suddenly at mortal risk. It fell to Dennis’s son Lawrence,
  a garrulous businessman, to try to save the family enterprise.

  Lawrence’s idea was to engage a new frontman for a new line of
  paints—someone who would have instant name recognition, if not at Bob’s
  level then at least close enough to keep the company afloat. And the
  person who immediately came to mind was none other than Bob’s son
  Steve.

  Lawrence reached out to see if Steve might be interested, but Steve
  immediately flagged a problem: the possibility of a lawsuit by Bob
  Ross, Inc.

  For decades, Steve had heard the company’s footsteps behind him. His
  abiding worry was getting sued over his own surname. As Steve recalled
  to The Daily Beast, he always remembered a phone call he received back
  in 1995:

  Annette called me two days after my dad died, and she said, “I want you
  to listen to me carefully… Any Bob Ross art products, anything related
  to art or painting… you can never ever make those, distribute those,
  create a business around those—nothing. But if you would like you can
  do anything not painting- or art-related that you want. You can do Bob
  Ross pickles, Bob Ross shoes, Bob Ross whatever. But you cannot put the
  Ross name on a painting- or art-related product, period—ever—for the
  rest of your life.”

  None of this had ever really come up though since, prior to Joan’s
  taking over, Bob Ross, Inc., had never expanded beyond the core paint
  products. “Walt and Annette knew what would happen if they did do it,”
  Steve said. “Joan was stupid enough to do it, and that’s what triggered
  me” to pursue a lawsuit.
  <div class="inline-image__caption"><p>Steve Ross and Dana
  Jester</p></div> <div class="inline-image__credit">Courtesy Steve
  Ross</div> <div class="inline-image__caption"><p>Steve Ross and Dana
  Jester</p></div> <div class="inline-image__credit">Courtesy Steve
  Ross</div>

  Steve Ross and Dana Jester
  Courtesy Steve Ross

  Steve had another trigger too. For the first time, he learned about the
  final amendment to his father’s will—the one that theoretically turned
  over the intellectual property to him. He suddenly realized he had a
  strong legal claim to his father’s legacy.

  Steve and Lawrence joined forces with one of Bob’s best friends, Dana
  Jester, and formed an LLC. They retained an intellectual property
  lawyer to press their case for the ownership rights to Bob’s name and
  likeness as well as damages for alleged infringement as a result of Bob
  Ross, Inc.’s foray into the broader licensing business. The trio even
  went ahead and filed a trademark to use a sketch of Bob’s face on
  rolling papers and other weed- and tobacco-related products.

  Joan was somewhat shell-shocked when their lawyer reached out. “We
  hadn’t heard from Steve for 25 or so years,” she said, and then the
  lawyer’s letter arrived. “We didn’t have an opportunity to have any
  sort of a conversation, but we would have liked that,” she added.

  Rebuffed by their request to discuss a settlement, in the summer of
  2018 Steve and his partners filed a federal lawsuit and headed to
  court. In many respects, the case was a blast from the past—a redux of
  the earlier 1995 lawsuits against Bob’s estate about “work for hire,”
  oral contracts, trademarks, and copyrights.

  After a year of claims and counterclaims—and depositions about odorless
  thinner, brush beater racks, bungee-cord easels, and other items one
  imagines made their first-ever appearances in federal court—the lawyers
  had finally made their cases. That fall, almost a quarter-century after
  Bob’s death, a judge in Virginia set to the task of determining where
  the world’s most famous TV artist should reside in perpetuity.

  Six months later, he rendered his decision. In his view, Bob had in
  fact given all of his intellectual property to Bob Ross, Inc., during
  his lifetime via oral contracts that would have been confirmed by
  written contracts, if the written contracts had existed. No matter,
  apparently, that the written contracts did not exist. Thus, the final
  amendment to the will was irrelevant since the intellectual property in
  question was, by that time, not Bob’s to give to anyone else. In other
  words, Bob Ross, Inc., owned it all.

  Steve and his partners thought they had a strong case on appeal, but
  they didn’t have the cash to continue the fight—nor did they want to be
  tied up in legal limbo for the foreseeable future. From the onset, what
  they had really wanted was the right to use Steve’s name—and the
  assurance that they wouldn’t be hit with a well-financed lawsuit from
  Bob Ross, Inc., if they did.

  In the end, they struck the best deal possible under the circumstances.
  In exchange for a modest payment, Steve gave up his claims on Bob’s
  intellectual property. Most importantly for him, perhaps, Bob Ross,
  Inc., gave him the clearance to move forward with his business using
  his name and the right, under non-disclosure agreements, to show some
  terms of settlement to prospective business partners who might be
  fearful of a Bob Ross, Inc., lawsuit if they were to get into bed with
  Steve.
  <div class="inline-image__caption"><p>Bob Ross at easel painting one of
  his mountain landscapes as his business partner Annette Kowalski looks
  on in his studio at home.</p></div> <div
  class="inline-image__credit">Acey Harper/Getty</div> <div
  class="inline-image__caption"><p>Bob Ross at easel painting one of his
  mountain landscapes as his business partner Annette Kowalski looks on
  in his studio at home.</p></div> <div class="inline-image__credit">Acey
  Harper/Getty</div>

  Bob Ross at easel painting one of his mountain landscapes as his
  business partner Annette Kowalski looks on in his studio at home.
  Acey Harper/Getty

  All and all, it was a bitter pill for Steve and his partners. Barring a
  miracle, the Kowalski family’s company will own Bob Ross’s name and
  likeness, and financially benefit from his good name, for as long as
  there’s money to be made off of it.

  Of course, it’s also impossible to escape the cold, hard reality that
  had the Kowalskis folded shop back in 1995 after Bob passed, it’s
  highly likely that Bob would have faded into obscurity much as Bill
  Alexander has. There simply wasn’t anyone else in Bob’s orbit with the
  right skill set or business acumen to navigate the intervening decades,
  whether that was Walt and Annette’s keeping Bob on the air in the U.S.
  while expanding internationally, or Joan’s bold venture into the realm
  of brand licensing to create a new roadmap for the internet age.

  “I know that I’m doing exactly—exactly—what was intended by Jane, Bob,
  Walt, and Annette,” Joan told The Daily Beast.

  Steve may have lost one aspect of his father’s legacy for good with the
  stroke of the judge’s pen, but he did gain something as well. Something
  for which there is no monetary value. Something that had been missing
  from his life ever since his dad had passed into the great unknown.

  That something began a little before 9 a.m. on Wednesday, Sept. 24,
  2019, an hour due east of the tiny makeshift TV studio where Bob Ross
  had launched his career all those years ago. Nestled between endless
  cornfields, and a few towering windmills that slowly spin in the
  breeze, the 4-H Fairground in Winchester, Indiana, is little more than
  a squat, faded white building with a sun-baked gravel parking lot.
  Despite the inglorious setting, on this day, at this hour, the 4-H is
  about to become the temporary center of the Bob Ross universe.

  Several dozen artists have converged here for a painting workshop
  unlike any other in recent memory. For the first time in at least 15
  years, it’s an opportunity to learn from Bob’s two most trusted master
  painters: Steve and Dana, Bob’s son and his best friend. At this point
  in history, aside from Annette, they spent more time than anyone else
  in direct contact with the man for whom they are his most devoted
  disciples.

  For those gathered, it is a workshop with two living legends. At nine
  sharp, with little fanfare, Dana takes the dais at the front of the
  4-H’s cavernous single room, gives a brief introduction, and
  demonstrates the first step of today’s painting—“Sunlight in the
  Shadows,” the same crimson-hued forest scene he painted when he
  guest-hosted an episode of The Joy of Painting back in 1993. He even
  uses one of Bob’s old easels, and later on he’ll show off other
  memorabilia like the “BOB ROSS” vanity plate that graced Bob’s
  corvette.
  <div class="inline-image__caption"><p>Steve Ross admiring a picture of
  his father</p></div> <div class="inline-image__credit">Courtesy Alston
  Ramsay</div> <div class="inline-image__caption"><p>Steve Ross admiring
  a picture of his father</p></div> <div
  class="inline-image__credit">Courtesy Alston Ramsay</div>

  Steve Ross admiring a picture of his father
  Courtesy Alston Ramsay

  Dana is certainly a draw, but for most, Steve is the star of the show.
  And on Thursday, when it’s Steve’s turn to teach, he is as he will be
  throughout the four days of painting and socializing over pizza and
  beer: talkative, funny, empathetic, and with such brimming artistic
  talent that it’s almost like he’s performing a magic show whenever he
  puts his brush on the canvas. In fact, Bob’s closest friends all say
  Steve is a better painter than his father.

  Steve is such a natural in front of the crowd that it’s almost
  impossible to believe that this is the first time he’s taught in a
  decade and a half—or how long and hard his journey has been to reach
  this point.. Back in 1995, in his final words to him, Bob encouraged
  Steve to always “continue”—a simple but prophetic acknowledgment that
  he knew how much Steve might struggle in his absence.

  And indeed, Bob’s death had dragged Steve into a dark depression from
  which he almost didn’t escape. At one point shortly after Bob passed,
  Steve was driving on a highway when suddenly an impulse washed over him
  to swing his car into oncoming traffic to end the pain once and for
  all. He gripped the wheel tight and managed to keep it together—but
  just barely.

  The depression also affected his livelihood. He had been painting since
  he was a child, but after his father’s death, that which had given him
  so much joy and self-worth became inextricably tied to the worst moment
  in his life. He did paint and teach some over the ensuing years to make
  ends meet, but he eventually dropped off the circuit entirely and
  settled into the hermit lifestyle that would define his existence for
  the next 15 years.

  That is, until the legal confrontation with Bob Ross, Inc., rekindled
  his fire and brought him to Winchester for the workshop with Dana.

  All in all, the seminar was a smashing success: four days of painting
  six to eight hours a day, Bob Ross bon mots galore, and a group of
  likeminded devotees bonding over their shared love of painting as Steve
  and Dana regaled them with never-ending stories about Bob.

  When Steve returned home to Florida, he hopped online to see if any of
  the attendees had said anything about the event. He wasn’t expecting
  much, but what he found was a show-stopper. There were words of love
  and words of kindness. The same sort he had doled out to the
  painters—but directed at him.

  “I didn’t realize that people missed me or wanted to have me do this
  again,” he said. “I always knew, but what I mean is, maybe I didn’t
  want to know. Maybe I reserved the right to remain ignorant.”

  On and on Steve read. About all the people who had come to learn from
  him. About how he had touched their lives in profound, meaningful
  ways—just as his father had. As the words of kindness flashed across
  the screen, as he took stock of it all, suddenly a deep emotion welled
  up inside and barreled toward him like a freight train.

  And then it hit him. Steve took a deep breath, and he began crying.
  Tears streamed down his face as he felt the long-absent grace of God in
  that simplest of emotions, the one that had been absent in his life for
  so long that he had forgotten what it even was.

  Joy.

  “Like the first time I’ve had the sun on my face in a thousand years.”

  Alston Ramsay is a writer and producer in Los Angeles. If you have any
  information related to this article, please e-mail him at BobRossTips
  (at) gmail.com

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References

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113. https://news.yahoo.com/bill-gates-reportedly-laying-low-161927481.html
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116. https://news.yahoo.com/88-children-qualify-monthly-payments-110039636.html
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118. https://news.yahoo.com/raped-facebook-message-renews-fight-040153438.html
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126. https://news.yahoo.com/gaetz-associate-lawyer-says-case-211703940.html
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128. https://news.yahoo.com/four-old-found-beaten-death-171438153.html
129. https://beap.gemini.yahoo.com/mbclk?bv=1.0.0&es=KDYwYZcGIS_FuhPuXj91sdLuN0VGjwemcbsJGjNskMsSvM50NnFjv0RASR3BE.43.SDJlS2l7_hM7JRpKxztrbwrQzN0O6T9tr9M37HvoUKRaFhAaU5BzijTGXBdTAa.xPhgqSEySysj2BaIo2ZzDuT3wZtJjWLUDOJcs4T2rvU1oVJG6EGSi6fcVg5bV9pcJRNut51MJRsWZEGceuVdfIi1vhsn8cIX_36HUIm6SDaQzY4HAkoBZYrsm8ptg3pBTOKAXC5a33kSEBiOIu6kUuUkP235Stb5HLWDA.jYR8ryvWmT.G9m.a96fzHeTBWIiIEKaWyTUgi1Uje7i9M2PZgaJQt9tc9fCSGPrMngWY0ygBNKIx1XQCD_UZHP7BK2b9eJvXZz3xLHV1WbKrRvnzmOsCYzTa0sxt.LhWOQ19eX0lHhDi21bmEGJnMqhrv1FWaYa0M0M7fNiknaZKgH7FGf.nx9XDDuImBQfgLCZmUTjI0rdW10AImq4a9z4mlW5KYcdSjDSHaNPZvMb36I5aRdiWmBg_7M_39osNowOzxAxBooCpl_Yk82oetyfVBa692rsrCEZ9MxjeHn6i_1WcmX.7OJJeFN_hZIgIqugQvQKcMotGYLQKYZ.LMG6w6ukgL6zASQYFpL9KT6aSsvF5vtFjXTzRlKpFC6kNkPdWd1q3guMd9KS3XIQkbvPyxjyer9uN_qWG3Z6rn.1rRj57PIKmBw_Vamap3Lwww5tCjZlms-
130. https://www.verizonmedia.com/policies/us/en/verizonmedia/privacy/adinfo/index.html
131. https://beap.gemini.yahoo.com/mbclk?bv=1.0.0&es=KDYwYZcGIS_FuhPuXj91sdLuN0VGjwemcbsJGjNskMsSvM50NnFjv0RASR3BE.43.SDJlS2l7_hM7JRpKxztrbwrQzN0O6T9tr9M37HvoUKRaFhAaU5BzijTGXBdTAa.xPhgqSEySysj2BaIo2ZzDuT3wZtJjWLUDOJcs4T2rvU1oVJG6EGSi6fcVg5bV9pcJRNut51MJRsWZEGceuVdfIi1vhsn8cIX_36HUIm6SDaQzY4HAkoBZYrsm8ptg3pBTOKAXC5a33kSEBiOIu6kUuUkP235Stb5HLWDA.jYR8ryvWmT.G9m.a96fzHeTBWIiIEKaWyTUgi1Uje7i9M2PZgaJQt9tc9fCSGPrMngWY0ygBNKIx1XQCD_UZHP7BK2b9eJvXZz3xLHV1WbKrRvnzmOsCYzTa0sxt.LhWOQ19eX0lHhDi21bmEGJnMqhrv1FWaYa0M0M7fNiknaZKgH7FGf.nx9XDDuImBQfgLCZmUTjI0rdW10AImq4a9z4mlW5KYcdSjDSHaNPZvMb36I5aRdiWmBg_7M_39osNowOzxAxBooCpl_Yk82oetyfVBa692rsrCEZ9MxjeHn6i_1WcmX.7OJJeFN_hZIgIqugQvQKcMotGYLQKYZ.LMG6w6ukgL6zASQYFpL9KT6aSsvF5vtFjXTzRlKpFC6kNkPdWd1q3guMd9KS3XIQkbvPyxjyer9uN_qWG3Z6rn.1rRj57PIKmBw_Vamap3Lwww5tCjZlms-
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136. https://beap.gemini.yahoo.com/mbclk?bv=1.0.0&es=JGvgZd4GIS_Tnbnd70qRWRU8_5nLB7G1unpdNqDaT3vfc04Qsr8RHKDwoPyvejV9nDaQHHBLkBdKJayoNuBxz3.TqnEOqSxp3egiCSOizEEHHw5F79Uns44diugraKFJG8b1JLg5NDbp32ZqfXb6tI1mrCadnefb9kCLdNj0DEfBAO0xt58rOQEviqG.qD.sid.4qXRRx6uufn0NdnQLsN2maWgyZd56GMwV.Wg5R04u.OQrpZpLbrRHt5e2_KVun29TmbPi4_xIQCs6sXae0Dw83RpPUJApYYQLgsGyr.dLUZu5DDqOddLgXSunup1w82eHXn467YX8jprTa46XoMtOvxSzViFfKk0PttonHEdBv1e2pPugRUclP2TEBVuIsPzI6Z9zohWI95qm.YDzNMOqbGMmebDiQOdWIjM2kHlCsE3Mn.8ip2B194YtV8ElOUokOwrgv4KOkkGk9xq9cNyg06dUSckmZIOt4sFweqAe2rs579HzD2.gfKTkiZ9Jq740bQ5.P3elNhpexh2EjIGoy7Wh4Oo5RKK3W7gyB12stpLqzTzqTsNa_z97.CDxNqKlVjYEDzI_InJl_1.pgSGKgxQ7.g3wUXD51l8_WrtlZP.KWrkD2E1A0qgrHessl_hdpkcC_VElI6gAQ9.dxrYHahAzcWa1RUHxlbr.Im34Mwwnv3WAHpqQKXMd9aRJLk_FmKjxf6A9ovMt.93KSS96MI5kXK5hLX1EtqR_xv8cYqBHu5of0L4QiJt4.JVhitr5E_K.vGEd51kG.XVIgzRLC7SmM7jBZrU8uaj3u0Jc9A.1VpsottizwG0tVWgI2F7M3fFVsjxlI.UIqq3LX9tVvlJd5ilOdowivFqP7TZjbSS2DO.wzN9ufUvh9TOXtshctnGgqfHD45Ob3Ceebh3rWfrbuLO357ws35i.JNw9COS4b6x7vhD1yuhRcfukPaVhxL6gh
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137. https://www.verizonmedia.com/policies/us/en/verizonmedia/privacy/adinfo/index.html
138. https://beap.gemini.yahoo.com/mbclk?bv=1.0.0&es=JGvgZd4GIS_Tnbnd70qRWRU8_5nLB7G1unpdNqDaT3vfc04Qsr8RHKDwoPyvejV9nDaQHHBLkBdKJayoNuBxz3.TqnEOqSxp3egiCSOizEEHHw5F79Uns44diugraKFJG8b1JLg5NDbp32ZqfXb6tI1mrCadnefb9kCLdNj0DEfBAO0xt58rOQEviqG.qD.sid.4qXRRx6uufn0NdnQLsN2maWgyZd56GMwV.Wg5R04u.OQrpZpLbrRHt5e2_KVun29TmbPi4_xIQCs6sXae0Dw83RpPUJApYYQLgsGyr.dLUZu5DDqOddLgXSunup1w82eHXn467YX8jprTa46XoMtOvxSzViFfKk0PttonHEdBv1e2pPugRUclP2TEBVuIsPzI6Z9zohWI95qm.YDzNMOqbGMmebDiQOdWIjM2kHlCsE3Mn.8ip2B194YtV8ElOUokOwrgv4KOkkGk9xq9cNyg06dUSckmZIOt4sFweqAe2rs579HzD2.gfKTkiZ9Jq740bQ5.P3elNhpexh2EjIGoy7Wh4Oo5RKK3W7gyB12stpLqzTzqTsNa_z97.CDxNqKlVjYEDzI_InJl_1.pgSGKgxQ7.g3wUXD51l8_WrtlZP.KWrkD2E1A0qgrHessl_hdpkcC_VElI6gAQ9.dxrYHahAzcWa1RUHxlbr.Im34Mwwnv3WAHpqQKXMd9aRJLk_FmKjxf6A9ovMt.93KSS96MI5kXK5hLX1EtqR_xv8cYqBHu5of0L4QiJt4.JVhitr5E_K.vGEd51kG.XVIgzRLC7SmM7jBZrU8uaj3u0Jc9A.1VpsottizwG0tVWgI2F7M3fFVsjxlI.UIqq3LX9tVvlJd5ilOdowivFqP7TZjbSS2DO.wzN9ufUvh9TOXtshctnGgqfHD45Ob3Ceebh3rWfrbuLO357ws35i.JNw9COS4b6x7vhD1yuhRcfukPaVhxL6gh
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142. https://news.yahoo.com/matt-gaetz-addresses-sex-trafficking-222906369.html
143. https://beap.gemini.yahoo.com/mbclk?bv=1.0.0&es=D5D91GAGIS9dkAiG64eKgZFojZ3GjKlYtkXadOU8cIxeL9..PcHxb5yH88v4cSgaljQk6SeF_ZuBmC8oCRztiAnWsfo3ED_SzU6ouEWQxP.0C.Y1aVM8ANyoR_xftozXBz9D3Wql0yvTn0nkFk_oqASVA_lClcwgUR0sNVp.c2o8uFUEEq623EevKZM3aUs_rXZhxvPQ1XpAGMwTzQq.Fihh9JEmJh5wisomNhD6XZSADZdMT3dnbu5NP7gYFEt1LkeNh9Pc2Awn_WpJaTdavRy0Boz8X.k2E8vsR97N3iLvPc87PnS3HSw_m6loD8ECpfeeKiV4_pSMf8nTeZGMH22WYjhKCPOY.3echHIhJZcM5FZEDOS5w.Rv58xzWPp1R6Du2teS2e_vx1s5w6_FCJYWl55Hr6bF2koZ1W10sr8PiVj38L9aZ.HLn_A9L8z1Ts6k2sZANc_daBnjVJCWBvTuFVB6UZpYTOxx10yq.mwaPrIyd8A4Cef81A9nSI.CWWrb9AvCGnQucgiIKakjjcl87MeKkGFw1YtjIzApF7Om.Bo9LHuz37vgerUrKdsMI.zHhydaDXrB.q76z9QQfi7iJnz.cBTjEIuaSfwrpJOfZoUwuHfRtTs4r5oDfWqhZ30rHNuvb0eZy3jVoBcID4VAWINPEO5iFA1k7AXNaWTm4S68bkvg3.NwlDPY1TcYHeGEypX3N6tPZ3rky5b5gX.Ag6fyPtvt5We1dFvJ.otCOQ_HxI5vuWhRJyddfSuzAYzuvtrylRAWB4oZub.bv3_OPuXNlXIXtvSvhbpj4iKV2yLoOzXx8ttvp5w-
144. https://www.verizonmedia.com/policies/us/en/verizonmedia/privacy/adinfo/index.html
145. https://beap.gemini.yahoo.com/mbclk?bv=1.0.0&es=D5D91GAGIS9dkAiG64eKgZFojZ3GjKlYtkXadOU8cIxeL9..PcHxb5yH88v4cSgaljQk6SeF_ZuBmC8oCRztiAnWsfo3ED_SzU6ouEWQxP.0C.Y1aVM8ANyoR_xftozXBz9D3Wql0yvTn0nkFk_oqASVA_lClcwgUR0sNVp.c2o8uFUEEq623EevKZM3aUs_rXZhxvPQ1XpAGMwTzQq.Fihh9JEmJh5wisomNhD6XZSADZdMT3dnbu5NP7gYFEt1LkeNh9Pc2Awn_WpJaTdavRy0Boz8X.k2E8vsR97N3iLvPc87PnS3HSw_m6loD8ECpfeeKiV4_pSMf8nTeZGMH22WYjhKCPOY.3echHIhJZcM5FZEDOS5w.Rv58xzWPp1R6Du2teS2e_vx1s5w6_FCJYWl55Hr6bF2koZ1W10sr8PiVj38L9aZ.HLn_A9L8z1Ts6k2sZANc_daBnjVJCWBvTuFVB6UZpYTOxx10yq.mwaPrIyd8A4Cef81A9nSI.CWWrb9AvCGnQucgiIKakjjcl87MeKkGFw1YtjIzApF7Om.Bo9LHuz37vgerUrKdsMI.zHhydaDXrB.q76z9QQfi7iJnz.cBTjEIuaSfwrpJOfZoUwuHfRtTs4r5oDfWqhZ30rHNuvb0eZy3jVoBcID4VAWINPEO5iFA1k7AXNaWTm4S68bkvg3.NwlDPY1TcYHeGEypX3N6tPZ3rky5b5gX.Ag6fyPtvt5We1dFvJ.otCOQ_HxI5vuWhRJyddfSuzAYzuvtrylRAWB4oZub.bv3_OPuXNlXIXtvSvhbpj4iKV2yLoOzXx8ttvp5w-
146. https://www.verizonmedia.com/policies/us/en/verizonmedia/privacy/adinfo/index.html

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