So, before we get started today, a quick heads up for the end of this month.

At the end of August, I'll be at Destination D in Florida.

Typically, there are announcements at Destination D about the future of the Disney Company

that we'll talk about here on the podcast.

But as Destination D happens on Saturday and Sunday,

this means that I'll be recording most of that episode on Monday. So for that week only,

our podcast won't post on Sunday night like usual, but will instead post early in the week,

probably either late on Monday or on Tuesday. So when you don't see the episode at its usual time,

just remember it will come out instead early in the week. But now on to far more interesting things, especially in

terms of our series about Disney legend Mary Blair. We are now up to the point where Mary's life

again is going to expand in terms of the art she creates. We're also at the point where the stylized children

that she has been drawing or painting for over a dozen years begins to connect with image-conscious

Americans in the 1950s. We're also going to see how Mary's vision and her abilities as an illustrator begin to expand

far beyond the world of Hollywood and into other centers of popular American culture in

the middle of the 20th century.

That is, we're going to pick up right where we left off last week.

So if you have all of that, let's go.

By the start of 1952, Mary was in a very different place than when she lived in California six years earlier.

She was one of the most successful artists at the Disney Studio, the only one who worked remotely.

She was now the mother of two young children, and following her success in publishing, she began to expand out her illustration and design

work for New York-based companies. To understand the level of success that Mary found in 1952,

it's important to remember the median yearly income for an individual at that time was

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