Podcasts about American Antiquarian Society

Where did the Christmas tree come from? Is it rooted in pagan traditions, or does it carry a deeper Christian significance? In this episode, we explore the intriguing history of the Christmas tree, tracing its origins and development over time. Discover how this beloved holiday tradition was viewed, especially in 17th and 18th-century New England, including early Christian perspectives on celebrating Christmas during that time. Finally, we address the big question: Should Christians include a Christmas tree in their celebration of Christ's birth? What do you think? Time Stamps: 00:00 Introduction 03:36 Three Legends about the Origin of the Christmas Tree 12:49 The Use of Trees by Pagan Religions 18:38 The Positive Use of Trees in Scripture 22:42 Possible Forerunners of the Christmas Tree 30:09 American and the Christmas Tree 49:41 Should Christians Use a Christmas Tree? Resources Used in the Episode: Bruce David Forbes, Christmas: A Candid History (2007) Stephen Nissenbaum, The Battle for Christmas (1997, Pulitzer Prize Finalist) Stephen Nissenbaum, Proceedings of the American Antiquarian Society, April 1996 Vol 106, Pt 1, pgs 79-164 (https://www.americanantiquarian.org/sites/default/files/proceedings/44539478.pdf). About the authors: Stephen Nissenbaum received his A.B. from Harvard College in 1961, his M.A. from Columbia University in 1963, and his Ph.D. from the University of Wisconsin in 1968. He has taught at the University of Massachusetts, Amherst, since 1968, and is currently professor of history there. He has been the recipient of fellowships from the National Endowment for the Humanities, the American Council of Learned Societies, the American Antiquarian Society, the Massachusetts Historical Society, and the Charles Warren Center at Harvard. In addition, he was James P. Harrison Professor of History at the College of William and Mary, 1989–90. Active in the public humanities, he has served as member and president of the Massachusetts Foundation for the Humanities, and as historical advisor for several film productions. The Battle for Christmas was a Pulitzer Prize finalist in History in 1997. Bruce David Forbes received his B.A. from Morningside College, his M.Div. from the Pacific School of Religion, and his Ph.D. from Princeton Theological Seminary. He served as a professor of Religious Studies at Morningside College (now Morningside University), where he contributed significantly to the institution's academic life, including chairing the Religious Studies department. Over the course of his career, he has received multiple teaching awards and has been honored with grants reflecting his commitment to scholarship in the humanities. Forbes's work explores the intersection of religion and popular culture, with a particular focus on American religious life. In addition to Christmas: A Candid History, he has co-edited several important volumes, such as Religion and Popular Culture in America, and has participated as a speaker and consultant in public humanities programs, aiming to make the study of religion accessible and engaging to both academic and general audiences. If you have found the podcast helpful, consider ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠leaving a review on Itunes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠rating it on Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. You can also find ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Bible Sojourner on Youtube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Consider passing any episodes you have found helpful to a friend. Visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠petergoeman.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for more information on the podcast or blog. Visit⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ shepherds.edu⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for more on Shepherds Theological Seminary where Dr. Goeman teaches.

Sir Hans Sloane's legacy is a bit mixed. He is the reason there's a British Museum, but there are a lot of problematic aspects to the way he gathered his collection. Research: Blair, Molly. “350 years of the Chelsea Physic Garden: A brief history.” Gardens Illustrated. https://www.gardensillustrated.com/features/chelsea-physic-garden-350 Britannica, The Editors of Encyclopaedia. "Sir Hans Sloane, Baronet". Encyclopedia Britannica, 12 Apr. 2024, https://www.britannica.com/biography/Sir-Hans-Sloane-Baronet Delbourgo, James. “Collecting the World: Hans Sloane and the Origins of the British Museum.” Cambridge, MA and London, England: Harvard University Press, 2017.  “Health in the 17th Royal Museums Greenwich. https://www.rmg.co.uk/stories/topics/health-17th-century “Introducing Sir Hans Sloane.” The Sloane Letters Project. https://sloaneletters.com/about-sir-hans-sloane/ Lemonius, Michele. “‘Deviously Ingenious': British Colonialism in Jamaica.” Peace Research, vol. 49, no. 2, 2017, pp. 79–103. JSTOR, http://www.jstor.org/stable/44779908 “London, January 13.” The Derby Mercury. Jan. 12, 1753. https://www.newspapers.com/image/394230860/?match=1&terms=Sir%20Hans%20Sloane Pavid, Katie. “Hans Sloane: Physician, collector and botanist.” National History Museum. https://www.nhm.ac.uk/discover/hans-sloane-physician-collector-botanist.html “Sir Hans Sloane.” Sir Hans Sloane Centre. https://sirhanssloanecentre.co.uk/who-is-hans-sloane/ “Sir Hans Sloane.” The British Museum. https://www.britishmuseum.org/about-us/british-museum-story/sir-hans-sloane Stearns, Raymond Phinneas. “James Petiver Promoter of Natural Science, c.1663-1718.” Proceedings of the American Antiquarian Society. October 1952. https://www.americanantiquarian.org/proceedings/44807240.pdf See omnystudio.com/listener for privacy information.

Mount Vernon's historical status was secured by George Washington's ownership, but its full history cannot be told without examining the other people who lived here. Sarah Johnson, first living enslaved at Mount Vernon and later emancipated, saw the change in Mount Vernon from family home to national treasure.  We discuss this story with Scott E. Casper, author of  Sarah Johnson's Mount Vernon: The Forgotten History of an American Shrine.    And we also discuss Scott Casper's favorite place, the American Antiquarian Society and its amazing collections and programs.  Tell us what you think! Send us a text message!

Lost Literacies: Experiments in the Nineteenth-Century US Comic Strip (Ohio State UP, 2024) is the first full-length study of US comic strips from the period prior to the rise of Sunday newspaper comics. Where current histories assume that nineteenth-century US comics consisted solely of single-panel political cartoons or simple “proto-comics,” Lost Literacies introduces readers to an ambitious group of artists and editors who were intent on experimenting with the storytelling possibilities of the sequential strip, resulting in playful comics whose existence upends prevailing narratives about the evolution of comic strips. Over the course of the nineteenth century, figures such as artist Frank Bellew and editor T. W. Strong introduced sequential comic strips into humor magazines and precursors to graphic novels known as “graphic albums.” These early works reached audiences in the tens of thousands. Their influences ranged from Walt Whitman's poetry to Mark Twain's travel writings to the bawdy stage comedies of the Bowery Theatre. Most importantly, they featured new approaches to graphic storytelling that went far beyond the speech bubbles and panel grids familiar to us today. As readers of Lost Literacies will see, these little-known early US comic strips rival even the most innovative modern comics for their diversity and ambition. Alex Beringer is a professor of English at the University of Montevallo. His research and teaching focuses on nineteenth century American literature, visual culture, and comics. He received his Ph.D. in English in 2011 from the University of Michigan and has held fellowships with the American Antiquarian Society, University of Cambridge and the National Endowment for the Humanities. His work has appeared in American Literature, Arizona Quarterly, PopMatters.com, and elsewhere. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Lost Literacies: Experiments in the Nineteenth-Century US Comic Strip (Ohio State UP, 2024) is the first full-length study of US comic strips from the period prior to the rise of Sunday newspaper comics. Where current histories assume that nineteenth-century US comics consisted solely of single-panel political cartoons or simple “proto-comics,” Lost Literacies introduces readers to an ambitious group of artists and editors who were intent on experimenting with the storytelling possibilities of the sequential strip, resulting in playful comics whose existence upends prevailing narratives about the evolution of comic strips. Over the course of the nineteenth century, figures such as artist Frank Bellew and editor T. W. Strong introduced sequential comic strips into humor magazines and precursors to graphic novels known as “graphic albums.” These early works reached audiences in the tens of thousands. Their influences ranged from Walt Whitman's poetry to Mark Twain's travel writings to the bawdy stage comedies of the Bowery Theatre. Most importantly, they featured new approaches to graphic storytelling that went far beyond the speech bubbles and panel grids familiar to us today. As readers of Lost Literacies will see, these little-known early US comic strips rival even the most innovative modern comics for their diversity and ambition. Alex Beringer is a professor of English at the University of Montevallo. His research and teaching focuses on nineteenth century American literature, visual culture, and comics. He received his Ph.D. in English in 2011 from the University of Michigan and has held fellowships with the American Antiquarian Society, University of Cambridge and the National Endowment for the Humanities. His work has appeared in American Literature, Arizona Quarterly, PopMatters.com, and elsewhere. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Lost Literacies: Experiments in the Nineteenth-Century US Comic Strip (Ohio State UP, 2024) is the first full-length study of US comic strips from the period prior to the rise of Sunday newspaper comics. Where current histories assume that nineteenth-century US comics consisted solely of single-panel political cartoons or simple “proto-comics,” Lost Literacies introduces readers to an ambitious group of artists and editors who were intent on experimenting with the storytelling possibilities of the sequential strip, resulting in playful comics whose existence upends prevailing narratives about the evolution of comic strips. Over the course of the nineteenth century, figures such as artist Frank Bellew and editor T. W. Strong introduced sequential comic strips into humor magazines and precursors to graphic novels known as “graphic albums.” These early works reached audiences in the tens of thousands. Their influences ranged from Walt Whitman's poetry to Mark Twain's travel writings to the bawdy stage comedies of the Bowery Theatre. Most importantly, they featured new approaches to graphic storytelling that went far beyond the speech bubbles and panel grids familiar to us today. As readers of Lost Literacies will see, these little-known early US comic strips rival even the most innovative modern comics for their diversity and ambition. Alex Beringer is a professor of English at the University of Montevallo. His research and teaching focuses on nineteenth century American literature, visual culture, and comics. He received his Ph.D. in English in 2011 from the University of Michigan and has held fellowships with the American Antiquarian Society, University of Cambridge and the National Endowment for the Humanities. His work has appeared in American Literature, Arizona Quarterly, PopMatters.com, and elsewhere. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Lost Literacies: Experiments in the Nineteenth-Century US Comic Strip (Ohio State UP, 2024) is the first full-length study of US comic strips from the period prior to the rise of Sunday newspaper comics. Where current histories assume that nineteenth-century US comics consisted solely of single-panel political cartoons or simple “proto-comics,” Lost Literacies introduces readers to an ambitious group of artists and editors who were intent on experimenting with the storytelling possibilities of the sequential strip, resulting in playful comics whose existence upends prevailing narratives about the evolution of comic strips. Over the course of the nineteenth century, figures such as artist Frank Bellew and editor T. W. Strong introduced sequential comic strips into humor magazines and precursors to graphic novels known as “graphic albums.” These early works reached audiences in the tens of thousands. Their influences ranged from Walt Whitman's poetry to Mark Twain's travel writings to the bawdy stage comedies of the Bowery Theatre. Most importantly, they featured new approaches to graphic storytelling that went far beyond the speech bubbles and panel grids familiar to us today. As readers of Lost Literacies will see, these little-known early US comic strips rival even the most innovative modern comics for their diversity and ambition. Alex Beringer is a professor of English at the University of Montevallo. His research and teaching focuses on nineteenth century American literature, visual culture, and comics. He received his Ph.D. in English in 2011 from the University of Michigan and has held fellowships with the American Antiquarian Society, University of Cambridge and the National Endowment for the Humanities. His work has appeared in American Literature, Arizona Quarterly, PopMatters.com, and elsewhere. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Lost Literacies: Experiments in the Nineteenth-Century US Comic Strip (Ohio State UP, 2024) is the first full-length study of US comic strips from the period prior to the rise of Sunday newspaper comics. Where current histories assume that nineteenth-century US comics consisted solely of single-panel political cartoons or simple “proto-comics,” Lost Literacies introduces readers to an ambitious group of artists and editors who were intent on experimenting with the storytelling possibilities of the sequential strip, resulting in playful comics whose existence upends prevailing narratives about the evolution of comic strips. Over the course of the nineteenth century, figures such as artist Frank Bellew and editor T. W. Strong introduced sequential comic strips into humor magazines and precursors to graphic novels known as “graphic albums.” These early works reached audiences in the tens of thousands. Their influences ranged from Walt Whitman's poetry to Mark Twain's travel writings to the bawdy stage comedies of the Bowery Theatre. Most importantly, they featured new approaches to graphic storytelling that went far beyond the speech bubbles and panel grids familiar to us today. As readers of Lost Literacies will see, these little-known early US comic strips rival even the most innovative modern comics for their diversity and ambition. Alex Beringer is a professor of English at the University of Montevallo. His research and teaching focuses on nineteenth century American literature, visual culture, and comics. He received his Ph.D. in English in 2011 from the University of Michigan and has held fellowships with the American Antiquarian Society, University of Cambridge and the National Endowment for the Humanities. His work has appeared in American Literature, Arizona Quarterly, PopMatters.com, and elsewhere. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Lost Literacies: Experiments in the Nineteenth-Century US Comic Strip (Ohio State UP, 2024) is the first full-length study of US comic strips from the period prior to the rise of Sunday newspaper comics. Where current histories assume that nineteenth-century US comics consisted solely of single-panel political cartoons or simple “proto-comics,” Lost Literacies introduces readers to an ambitious group of artists and editors who were intent on experimenting with the storytelling possibilities of the sequential strip, resulting in playful comics whose existence upends prevailing narratives about the evolution of comic strips. Over the course of the nineteenth century, figures such as artist Frank Bellew and editor T. W. Strong introduced sequential comic strips into humor magazines and precursors to graphic novels known as “graphic albums.” These early works reached audiences in the tens of thousands. Their influences ranged from Walt Whitman's poetry to Mark Twain's travel writings to the bawdy stage comedies of the Bowery Theatre. Most importantly, they featured new approaches to graphic storytelling that went far beyond the speech bubbles and panel grids familiar to us today. As readers of Lost Literacies will see, these little-known early US comic strips rival even the most innovative modern comics for their diversity and ambition. Alex Beringer is a professor of English at the University of Montevallo. His research and teaching focuses on nineteenth century American literature, visual culture, and comics. He received his Ph.D. in English in 2011 from the University of Michigan and has held fellowships with the American Antiquarian Society, University of Cambridge and the National Endowment for the Humanities. His work has appeared in American Literature, Arizona Quarterly, PopMatters.com, and elsewhere. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism

Lost Literacies: Experiments in the Nineteenth-Century US Comic Strip (Ohio State UP, 2024) is the first full-length study of US comic strips from the period prior to the rise of Sunday newspaper comics. Where current histories assume that nineteenth-century US comics consisted solely of single-panel political cartoons or simple “proto-comics,” Lost Literacies introduces readers to an ambitious group of artists and editors who were intent on experimenting with the storytelling possibilities of the sequential strip, resulting in playful comics whose existence upends prevailing narratives about the evolution of comic strips. Over the course of the nineteenth century, figures such as artist Frank Bellew and editor T. W. Strong introduced sequential comic strips into humor magazines and precursors to graphic novels known as “graphic albums.” These early works reached audiences in the tens of thousands. Their influences ranged from Walt Whitman's poetry to Mark Twain's travel writings to the bawdy stage comedies of the Bowery Theatre. Most importantly, they featured new approaches to graphic storytelling that went far beyond the speech bubbles and panel grids familiar to us today. As readers of Lost Literacies will see, these little-known early US comic strips rival even the most innovative modern comics for their diversity and ambition. Alex Beringer is a professor of English at the University of Montevallo. His research and teaching focuses on nineteenth century American literature, visual culture, and comics. He received his Ph.D. in English in 2011 from the University of Michigan and has held fellowships with the American Antiquarian Society, University of Cambridge and the National Endowment for the Humanities. His work has appeared in American Literature, Arizona Quarterly, PopMatters.com, and elsewhere. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Lost Literacies: Experiments in the Nineteenth-Century US Comic Strip (Ohio State UP, 2024) is the first full-length study of US comic strips from the period prior to the rise of Sunday newspaper comics. Where current histories assume that nineteenth-century US comics consisted solely of single-panel political cartoons or simple “proto-comics,” Lost Literacies introduces readers to an ambitious group of artists and editors who were intent on experimenting with the storytelling possibilities of the sequential strip, resulting in playful comics whose existence upends prevailing narratives about the evolution of comic strips. Over the course of the nineteenth century, figures such as artist Frank Bellew and editor T. W. Strong introduced sequential comic strips into humor magazines and precursors to graphic novels known as “graphic albums.” These early works reached audiences in the tens of thousands. Their influences ranged from Walt Whitman's poetry to Mark Twain's travel writings to the bawdy stage comedies of the Bowery Theatre. Most importantly, they featured new approaches to graphic storytelling that went far beyond the speech bubbles and panel grids familiar to us today. As readers of Lost Literacies will see, these little-known early US comic strips rival even the most innovative modern comics for their diversity and ambition. Alex Beringer is a professor of English at the University of Montevallo. His research and teaching focuses on nineteenth century American literature, visual culture, and comics. He received his Ph.D. in English in 2011 from the University of Michigan and has held fellowships with the American Antiquarian Society, University of Cambridge and the National Endowment for the Humanities. His work has appeared in American Literature, Arizona Quarterly, PopMatters.com, and elsewhere. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

On August 12, 2022, noted author Salman Rushdie was stabbed multiple times as he was about to deliver a talk at the Chautauqua Institute, in Chautauqua, New York. Popular in the nineteenth and twentieth centuries, Chautauquas have declined in popularity over the years, although they are still held throughout the United States. Join us today for a discussion with a KHS research fellow who has written an article about a Black Chautauqua that was held in Owensboro, Kentucky, as we delve into the local history of Chautauquas. Dr. Patterson is an associate professor of English at the University of South Florida. She holds a Ph.D. in Cultural Studies from George Mason University. In 2010, she published Art for the Middle Classes: America's Illustrated Magazines of the 1840s with the University Press of Mississippi. She has held many fellowships, including the Library Company of Philadelphia and the American Antiquarian Society. Kentucky Chronicles is inspired by the work of researchers from across the world who have conducted research at the Kentucky Historical Society, or who have contributed to the scholarly journal, The Register of the Kentucky Historical Society, which has been published continuously, since 1903. Hosted by Dr. Daniel J. Burge, associate editor of The Register of the Kentucky Historical Society, and coordinator of our Research Fellows program, which brings in researchers from across the world to conduct research in the rich archival holdings of the Kentucky Historical Society. KHS Chronicles is presented by the Kentucky Historical Society, with support from the Kentucky Historical Society Foundation. https://history.ky.gov/about/khs-foundation Our show is recorded and edited by Gregory Hardison, who also wrote the original underscoring of the interview. Thanks to Dr. Stephanie Lang for her support and guidance. Our theme music, “Modern Documentary” was created by Mood Mode and is used courtesy of Pixabay. To learn more about our publication of The Register of the Kentucky Historical Society, or to learn more about our Research Fellows program, please visit our website: https://history.ky.gov/

People have kept diaries and recorded notes since writing was invented. But planners as we think of them today have their roots in almanacs.  Research: Atkins, Samuel. “Kalendarium Pennsilvaniense.” W. Bradford. 1685. https://books.google.com/books/about/Kalendarium_Pennsilvaniense_Or_America_s.html?id=wT0wAAAAYAAJ Nichols, Charles L. “Notes on the Almanacs of Massachusetts.” American Antiquarian Society. 1912. https://www.americanantiquarian.org/proceedings/45647891.pdf Railton, Stephen. “Anti-Slavery Almanacs.” University of Virginia. https://utc.iath.virginia.edu/abolitn/gallaaaf.html Britannica, The Editors of Encyclopaedia. "almanac". Encyclopedia Britannica, 9 Oct. 2023, https://www.britannica.com/topic/almanac Badian, E.. "fasti". Encyclopedia Britannica, 22 Dec. 2021, https://www.britannica.com/topic/fasti-Roman-calendar Winlock, H. E. “The Origin of the Ancient Egyptian Calendar.” Proceedings of the American Philosophical Society, vol. 83, no. 3, 1940, pp. 447–64. JSTOR, http://www.jstor.org/stable/985113 Smith, William, et a. “A Dictionary of Greek and Roman Antiquities.” Albemarle Street, London. John Murray. 1890. Accessed online: https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0063:entry=fasti-cn Britannica, The Editors of Encyclopaedia. "Richard Pynson". Encyclopedia Britannica, 1 Jan. 2023, https://www.britannica.com/biography/Richard-Pynson Driver, Martha W. “When Is a Miscellany Not Miscellaneous? Making Sense of the ‘Kalender of Shepherds.'” The Yearbook of English Studies, vol. 33, 2003, pp. 199–214. JSTOR, https://doi.org/10.2307/3509026 Hockey, Thomas et al. (eds.). “The Biographical Encyclopedia of Astronomers.” Springer Reference. New York: Springer, 2007, pp. 1258-1260 https://islamsci.mcgill.ca/RASI/BEA/Zarqali_BEA.htm “Diaries and Planners Market Size, Share, Growth, and Industry Analysis by Type (Diaries and Planners) By Application (Premium, and Mass), Latest Trends, Regional Insights, and Forecast From 2024 to 2031.” Business Research Insights. April 2023. https://www.businessresearchinsights.com/market-reports/diaries-and-planners-market-102040 Hubrigh, Joachim. “An almanacke, and prognostication, for the yeare of our Lorde God. 1565. : seruing for all Europia, and also most necessary for all students, marchantes, mariners and trauellers, both by sea and lande, composed and gathered by Ioakim Hubrigh, Doctor in Phisick. Also the most principall fayres in Englande, very necessary for people that doe resorte to the same.” Imprinted by Henry Denham for William Pickring. 1565. Accessed online: https://catalog.folger.edu/record/170062?ln=en Shank, Michael. "Regiomontanus". Encyclopedia Britannica, 2 Jul. 2023, https://www.britannica.com/biography/Regiomontanus Danforth, Samuel and Royster, Paul (transcriber & editor), "Samuel Danforth's Almanack Poems and Chronological Tables 1647-1649" (1649). Faculty Publications, UNL Libraries. 36. https://digitalcommons.unl.edu/libraryscience/36 “History of The Nautical Almanac.” Astronomical Applications Department, U.S. Government. https://aa.usno.navy.mil/publications/na_history “William Pierce.” Town Memorials, Winthrop, Massachusetts.” https://winthropmemorials.org/great-allotment/pages/william-pierce.html See omnystudio.com/listener for privacy information.

Picasso's Lovers by Jeanne Mackin https://amzn.to/47flzD3 A tangled and vivid portrait of the women caught in Picasso's charismatic orbit through the affairs, the scandals, and the art—only this time, they hold the brush. The women of Picasso's life are glamorous and elusive, existing in the shadow of his fame—until 1950s aspiring journalist Alana Olson determines to bring one into the light. Unsure of what to expect but bent on uncovering what really lies beneath the canvas, Alana steps into Sara Murphy's well-guarded home to discover a past complicated by secrets and intrigue. Sara paints a luxurious picture of the French Riviera in 1923, but also a tragic one. The more Sara reveals, the more cracks emerge in Picasso's once-vibrant social circle—and the more Alana feels a disturbing convergence with her own life. Who are these other muses? What became of them? What will become of her? Desperate to trace the threads, Alana dives into the glittering lives of the past. But to do so she must contend with her own reality, including a strained engagement, the male-dominated world of art journalism, and the rising threat to civil rights in America. With hard truths peeling apart around her, it turns out that the most extraordinary portrait Alana encounters is her own. About the author Jeanne Mackin is the author of several historical novels. Her most recent is The Beautiful American. She has worked as a journalist for several publications, and as a university research and science writer. She lives in the Finger Lakes region of New York State, with her husband, artist Steve Poleskie. Jeanne was the recipient of a creative writing fellowship from the American Antiquarian Society and her journalism has won awards from the Council for the Advancement and Support of Education.

Dr. David Gellman is Professor of History at DePauw University, where he has taught since 1999. His book Liberty's Chain: Slavery, Abolition, and the Jay Family of New York was published in Spring 2022 by Three Hills, and imprint of Cornell University Press. Among his other publications are Emancipating New York: The Politics of Slavery and Freedom, 1777-1827 and Jim Crow New York: A Documentary History of Race and Citizenship, 1777-1877. Both were selected as Choice Outstanding Academic Titles. He is a member of the editorial board of the Journal of the Early Republic and has held research fellowships at the Huntington Library, the American Antiquarian Society, and the Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition. In addition, he has published two essays on rock legend Bruce Springsteen and is co-host of a long-running music radio show on WGRE, 91.5 FM, in Greencastle, Indiana.

How our ancestors are responsible for the no Fly list :) No really how they wanted us to fly and progress. Our Sponsor http://FelicityMall.com Referance [S:0 - JAS] - Edgar Allan Poe Society of Baltimore - Works - Annuals, Magazines and Periodicals https://www.eapoe.org/works/editions/prdcls.htm The Balloon-Hoax Article From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/The_Balloon-Hoax The printed story ends here, but the human story ….. Well, Steel workers went to work Monday morning knowing their work would someday rule the skies like a bird. Children went to school knowing one day they would fly in the skies like a bird. Mothers cleaned their houses and fed their children and some mothers did the same for other families knowing one day these children would be the pilots of the airs that would save humanity. Every single man, woman and child in the city of New York that year knew their life had purpose and meaning, This news article is not true, but is the expansion of a truth unfolding at the time. Some call it fake, others call it a joke. I call it a masterpiece that framed the future. It is believed to have been written by Edgar Allen Poe. Whoever wrote it wrote a majestic masterpiece of motivation that brought us to the skies we share today. So the next time you sit in an airplane, watch one pass overhead, or even think about that far away vacation you so desperately need, remember these realities we live today once replaced sugar plums and fairies in a child's dream and fueled a man's world.  It is said you can find a full size readable copy of the actual article at the American Antiquarian Society as well. Side note, I am not southern and had no idea I sound southern. Love Miri --- Send in a voice message: https://podcasters.spotify.com/pod/show/yapityyak/message

It's been said that the history of an era is written in the countless acts of individuals, doing their best to live their own lives.  Ilyon Woo shares the story of one married couple whose personal journey—literally and figuratively—charts the course of the United States in the dozen years before the American Civil Car. Woo is the New York Times best-selling author of “Master Slave Husband Wife: An Epic Journey from Slavery to Freedom” and “The Great Divorce: A Nineteenth-Century Mother's Extraordinary Fight Against Her Husband, the Shakers, and Her Times.” Her writing has appeared in The Boston Globe, The Wall Street Journal, Time Magazine, and The New York Times, and she has received support for her research from the Whiting Foundation, and National Endowment for the Humanities and the American Antiquarian Society, among other institutions. She holds a bachelor's degree in the Humanities from Yale College and a Ph.D. in English from Columbia University.See omnystudio.com/listener for privacy information.

Our guest today is the brilliant and entertaining Andrew Jackson O'Shaughnessy. Andrew is Professor of History at the University of Virginia and the former Saunders Director of the Robert H. Smith International Center for Jefferson Studies at Monticello. From 2015-2022 he was the Vice President of the Thomas Jefferson Foundation. Andrew also spent thirteen years at the University of Wisconsin Oshkosh, where he served as the Chair of the Department of History and held the Rosebush Professorship. Andrew attended Columbia University before earning a BA, MA, and PhD in History from Oriel College at Oxford University. Andrew is the author of The Illimitable Freedom of the Human Mind: Thomas Jefferson's Idea of a University (University of Virginia Press), and is the co-editor with John Ragosta and Peter Onuf of The Founding of Thomas Jefferson's University (University of Virginia Press) and European Friends of the American Revolution with John A. Ragosta and Marie-Jeanne Rossignol (forthcoming, University of Virginia Press). Andrew is perhaps best known for The Men Who Lost America:  British Leadership, the Revolutionary War and the Fate of Empire (Yale University Press), which won numerous awards, including the George Washington Book Prize, The Society for Military History's Distinguished Book Award in US History, the National Society of Daughters of the American Revolution's Excellence in American History Book Award, and the New-York Historical Society Annual American History Book Prize. His first book, An Empire Divided: The American Revolution and the British Caribbean (University of Pennsylvania), has now gone through its third printing. In addition, Andrew is widely published in many of the top journals in the field. Andrew is an award-winning teacher and he has held numerous visiting professorships and fellowships. Most recently, he was a Visiting International Fellow at the Wilberforce Institute at Hull University. In 2016-17, he was the Sons of the American Revolution Visiting Professor at King's College, London. Andrew is a fellow of the American Antiquarian Society and, of course, a Fellow of the Royal Historical Society. Andrew first researched in an archive when he was only 15, and has never looked back. Join us as we chat about growing up in the US and the UK, the American War for Independence, the Grenadier Guards band, hosting Presidents at Monticello, and Virginia wines!

Links from the show:* Symbols of Freedom: Slavery and Resistance Before the Civil War* Rate the show* Never miss an episodeAbout my guest:Matt Clavin, Professor of History at the University of Houston, writes and teaches in the areas of early America and Atlantic world. He is the recipient of numerous awards and fellowships from the American Antiquarian Society, the Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition, the National Endowment for the Humanities, and others. Get full access to Dispatches from the War Room at dispatchesfromthewarroom.substack.com/subscribe

What you'll learn in this episode:   What jewelry can tell us about the aesthetics and values of a particular era. Why sustainability in the jewelry industry is essential, and why the definition of “sustainable” is much broader than we might think. Why maintaining purpose is the key to making our world and our creative work better. Why the term “ethical jewelry” is less about materials and more about our choices as consumers and makers. How Lisa decides which topics deserve attention at Initiatives in Art and Culture's conferences.   About Lisa Koenigsberg   Lisa Koenigsberg is President and Founder, Initiatives in Art and Culture (IAC) and an internationally recognized thought-leader in visual culture. Koenigsberg's work is characterized by commitment to authenticity, artisanry, materials, sustainability, and responsible practice. Over 20 years ago, she established IAC's multi-disciplinary conference series on visual culture and has since been responsible for launching its web-based webinars and other offerings. She has held leadership positions at NYU where she also served on the faculty, at several major museums, and at the New York City Landmarks Preservation Commission.   Koenigsberg's writings have appeared in such books as The Art of Collecting (ed. D. Jensen), Auspicious Vision: Edward Wales Root and American Modernism, Architecture: A Place for Women (eds. E. P. Berkeley and M. McQuaid), The Gilded Edge: The Art of the Frame (ed. E. Wilner), in journals such as Gems and Jewellery (the publication of the Gemmological Association of Great Britain), American Art Journal, Proceedings of the American Antiquarian Society, and Journal of the Society of Architectural Historians, as well as in magazines and in Trendvision's Trendbook.   A frequent speaker, she has also organized symposia and special sessions at universities, museums, and professional organizations throughout the US and abroad, including at the State Art Collections of Dresden, NYU, City University Graduate Center, the Smithsonian Institution, the Norton Museum of Art, and the United Nations, and has organized and chaired sessions at the American Association of Museums, the Goldsmiths Company (London), the Society of Architectural Historians, Yale University Art Gallery, the Aspen Institute, and the Jewelry Industry Summit and at JCK.   She holds graduate degrees from The Johns Hopkins University and from Yale University from which she received her PhD. She is president of the Board of the Morris–Jumel Museum, a trustee of Glessner House in Chicago, and is a member of the Advisory Board of Ethical Metalsmiths and of the board of the NY Silver Society.   Additional Resources: Initiatives in Art and Culture Instagram Initiatives in Art and Culture Facebook Initiatives in Art and Culture Linkedin Initiatives in Art and Culture Linktr.ee Lisa Koenigsberg Linkedin   Photos are available on TheJewelryJourney.com     Transcript: What is sustainable jewelry? According to Lisa Koenigsberg, it's about much more than the materials used. As founder of Initiatives in Art and Culture (IAC), Lisa has organized dozens of conferences to encourage people to explore sustainability, stores of value, visual culture and more, all through the lens of jewelry. She joined the Jewelry Journey Podcast to talk about what visual culture is and why it's significant; what it means for makers and jewelry professionals to maintain purpose; and what we can expect from IAC's upcoming conferences. Read the episode transcript here. Sharon: Hello everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Lisa Koenigsberg speaking to us from New York and environs back east. She is the founder of Initiatives in Art and Culture, which is focused on a number of issues such as women in western art. There's also a conference, which I just noticed, on arts and crafts in the art world. She is an internationally recognized authority on material culture. This July, she is chairing an important conference called “Maintaining Purpose” with a focus on how to make something we all love, jewelry. We'll learn more about her jewelry journey today and hear more about the conference. I didn't go into all the details of the conference and her background because it would take too long. Lisa, welcome to the program. Lisa: Thank you. It's so nice to be here. Sharon: Tell us about your jewelry journey. Were you a jeweler? Were you educated as a jeweler? Lisa: No, I am not a jeweler. I am the child of two people who are very object-driven and, of course, a mother with extraordinary taste. But in terms of how you might say I studied jewelry, jewelry was part of what we looked at when thinking about—a term I find not felicitous, but I'll use it for the moment—decorative arts, so fitting into the range of the useful and the beautiful. Silver, for example. Jewelry certainly had a space there, and that was the earliest point for me that was non-life-driven. One of the great blessings that happened to me was that I did my graduate work at Yale. That was when the arts and crafts movement wasn't codified in the same way it is now. We sat around and talked about it in the back room of the American Arts office. There were objects there, and we had the opportunity to hold, see, explore. At the time, I also used to wash silver and jewelry for an extraordinary dealer who wrote a wonderful book, Rosalie Roberian. One of the things that did was give me a sense of weight, dimension, proportion, of engaging closely with materiality. Although the arts and crafts is one dimension, I think that illustrates well one of the things that has been so important for me, which is looking for the opportunity to hold, the opportunity to talk with makers. For example, every year, The Goldsmiths' Company in the U.K. does something called the Goldsmiths' Fair. At the Goldsmiths' Fair, there is one week with 67 or so makers. During that time, you can go and speak with any of the makers, explore the work in your hand, look closely at it. I think the journey of looking is probably one of the most important things. I've been interested in jewelry as a manifestation of the aesthetic of any era for a very long time as well. My background and training are cross-disciplinary. I'm an American studies person. For me, one of the things I always look for is what we are seeing as characteristic of an age, for example. I see jewelry as very much a part of the tangible expressions of an era. For example, if you're talking about a brooch, you can be working on a sculpture for the body, similarly with neckwear. It's one of the most intriguing forms of expression there is. Making jewelry, the impulse to craft out of whatever the culture sees as precious material, is one of the innate impulses we have, along with the urge to adorn. If you step back and think about it, jewelry is intertwined with so many events of state, events of faith, events of heart. The Pope, for example, wears the Fisherman's Ring, and at the passing of each Pope, that ring is shattered; a new ring is made. We're all currently fixated on the crown jewels as Charles' coronation comes up. All of that is actually jewelry. It's jewelry indicative of state, of lineage, obviously of aesthetics. The band that many of us wear on one left or right ring finger, as simple or as elaborate as it may be, that is jewelry. It's a signifier. It's also invested with tremendous emotion. Jewelry plays an enormously powerful role in culture. It's another kind of historical document. So, if we look at jewelry, we can learn things. For example, you can explore the kinds of ornament it was thought only men wore, but by actually going back and looking, as it was done in the exhibition “Golden Kingdoms,” you can see that women also wore certain kinds of major ceremonial ornament. You can learn from the inscriptions. You can learn about stylistic transmission from the aesthetics. One of the things we don't think about so much is what we leave behind. When we go and look at how we have explored previous cultures, past cultures, one of the things we see is that the documents are often what have been termed luxury arts. They are art that are made of objects that are deemed precious within a culture. They demonstrate a certain egis over resources and talent, but they also serve as documents of that culture. They tell us things about religion, about aesthetics, about faith, about ritual. We need to be thinking about that with regard to jewelry in our own age as well. What are we leaving behind? Sharon: You cover so many things in Initiatives in Art and Culture. You talk about gems and sustainability and art. It's so many things. How did you start this, and what is the conference about? Lisa: I founded Initiatives in Art and Culture in 2004. One of the reasons it was started is because I had developed a series of conferences that had, at their core, a concern for visual culture. What does visual culture tell you? Because there is much to be learned about materiality. What's it made of? How do we get those materials? And that opens the door to discussing sustainability. Then, what's done with those materials? What are the forms? What are the means of expression, whether it's three-dimensional, such as a ring, or two-dimensional, except that it really has a third dimension, however subtle it may be. So, within the category of good, better or best, what differentiates an object from another? Then taking it a step further, what does that object mean in terms of the way we use it, in terms of its place in society, in terms of what it says? Beyond that, how is it linked to the time, or does it presage the future in some way? I'm sure I've left out some foci related to political and social concerns, but it's that wholeness that is inherent in visual culture. That is the focus of what IAC does. We have deep commitment to artistry and materials as well as a commitment to responsible practice. Sharon: Several questions. Were you always interested in all of this, or is it something your professors taught you and you learned as you read? It's not the way I would look at something. I think it's really interesting. How did you start looking at this? Lisa: I was born into a family that was and remains very visually engaged and involved with art, very involved with looking. Well before I had what one might think of as a professor, I had my parents, who in effect included me in their world of looking from moment one. My experience of art, of objects, has been part of my life since the very beginning. For us, a shared experience was very often looking, whether it was going to an exhibition or a trip planned specifically to see certain things. This was very much part of my world, or the world I was lucky enough to be born into. That included the people that were friends of my parents, and that included curators and collectors and people who were very engaged in the world of looking. My mother herself is a very well-recognized either fiber artist or artist who does sculpture using wire to explore grid and void. I say that to avoid the nomenclature wars. I was very lucky to have some extraordinary teachers, but one of the best teachers I had was in high school. We reenacted the Ruskin Whistler trial. I was the attorney for Ruskin, so I had to know all about each one of the witnesses, each one of the people who appeared and testified in the trial, and that made art come alive in a way that was exceptional. Another thing was that during those years, there was something called the myth and image school. It's the idea that an era has emblems that are representative, that are invested with particular meaning. There may be a flip side to that emblem or a parallel that represents its opposite, but this idea, one which is very cross-disciplinary and often ranges through literature and art, was incredibly formative for me. This is the stuff my teachers exposed me to when I was 13, 14. I was reading these books because they had read them in school, in college, and they shared them with us. For me, going to university—I went to Johns Hopkins and did a BA/MA in history—it was, on the one hand, a new chapter and transformative, but on the other hand, it was in some ways a continuation of what I had been doing all the way along. Sharon: Correct me if I'm wrong, but it seems like—I've watched your conferences for a long time, and it seems that you focus on art and gems and other things. This idea of maintaining purpose and an emphasis on sustainability seems to be in the last few years. Am I incorrect? Do you just put on a conference when you think it's a really important subject and it's coming to the fore? Lisa: Sustainability is a dicey word when it comes to what exactly that means. At root, it is to survive, but in our thinking, sustainability is linked to responsible practice, which can involve how you source materials, how you make an object, what the circumstances and conditions of that making are. We actually have been interested in that since the first project. It was called “Green,” and it was in 2008. The reason that happened was there was an increasing concern with what was then called sustainability, which was often associated with the color green. We had something I definitely want to revive, which is a conference of 20 years of looking at fashion jewels, the zeitgeist of culture, photography, literature, etc. This term sustainability was being used, green was being used, and one of the things I didn't want to do was a superficial one-off. So, we decided that for the 10th year—I think it was the 10th year—of that conference, we would do something called “Green: Sustainability, Significance, and Style.” In that conference we looked at color, of course; we even looked at green diamonds, but we also looked at coral and organic material that's made into jewelry. The issues pertaining to coral were at peak interest at that point, and we did quite a lot in that conference with gold. That was the first time I worked with Toby Pomeroy, with whom I've been fortunate enough to be both friends and colleagues since then. At that point, Toby had done something that was then radical, which was to approach the refiner Hoover & Strong to see if it could be demonstrated that the materials, the scrap, that he came in with was the only material that was in the batch that was refined and that it remained segregated from everything else. That was what you might call an exploration in chain of custody, in the sense that he had a sense of origin of these materials and he wanted to ensure that he could attest to their integrity. Hoover & Strong met the challenge. At that point, Toby was making quite a lot of jewelry, and there was a term that was being used called Eco Loops. Toby has since gone on to do remarkable work with regard to mercury elimination, and he will be involved in the conference, “Maintaining Purpose,” that we are doing. With “Maintaining Purpose”—and actually with the “Green” conference, we had Mike Kowalski, who was then the chair of Tiffany, involved in the conference. There was a great deal of focus on things like land reclamation and after-mining and that sort of thing. Having said that, one thing I'd like to stress is that one of our speakers, who at that point was the head of Bono's RED, got up and said, “I know you're all wondering, ‘What's a red person doing at a green conference?'” I felt as if I had been hit over the head with pipe, because I had never thought about environmental sustainability or integrity as being isolated from social condition and well-being. Now, when you look at the 17 SDG, you'll see so many different issues broken out, but one of the things I thought was, “Gosh, we've got to do red now,” because this is a split I wasn't thinking about or perceiving. Green and red basically led to the creation of a conference. Our initial thinking was to do a conference that would look at precious substances. We did a coral conference; we did a diamond conference, which we were very privileged to do. We had wonderful support from Sally Morrison for that project. Then I woke up and realized we had never done gold, so effectively what happened is that the conference on precious substances became the Gold Conference. The Gold Conference is now entering its 13th year. We broadened gold to include gold and diamonds because we wanted to draw people's attention to stores of value, which these materials are, and also comparative approaches to things like mining, whether it's formalized or otherwise. And also because, of course, metal and stone go together. That's not to say we do not explore and include focus on other stones. We're very proud that Cruzeiro Mines, which is a tourmaline and rubellite mine from Brazil that has exemplary practices and absolutely beautiful stones, is participating in this year's conference. But the way the Gold and Diamond Conference evolved was it came to use jewelry as a lens for a 360-degree approach to the life and the issues associated with the material in question. On the one hand, you have great artistry, like Giovanni Corvaja. We were privileged to have Daniel Brush speak, whose loss I feel keenly. Every year we welcome wonderful jewelers. At the same time, we think about the issues related to extracting material or recycling material and what those words mean. What is recycling? We have repurposed since the dawn of time, so what gives something that halo of recycling? Do we have to think about what we're using? And, of course, jewelry is a created object. What are the environmental ramifications of extracting, creating the jewelry business writ large? Often in our heads, we think about jewelry and we see a craftsperson, a maker. That aspect of things is very dear to our hearts, and we're keenly interested in artisanry. At the same time, you have other aspects to this jewelry industry, large corporations that produce for particular market segments. You have the luxe maison. In some ways, they're all compatriots in a world, in other ways competitors in a world, and yet bound together by a common concern for ensuring that this world we have continues. Without this world, without this air, without this earth, we are nothing. We can't make anything. We have effaced ourselves. I think there is a point of critical mass that's been reached where there is a deep and general concern. One of the things I fear and that I hope I can help with is building community to encourage people to keep going forward despite the fears that we may have about doing something a different way. Last year our conference was “Boldly Building the Future.” How do you boldly build the future? We have many declarations that have been stated about gold, for example. There was a declaration drafted and shepherded through for the gold industry by LBMA and the World Gold Council. They have principles. Principles are not blueprints. How do you get from that vision, the abstract vision, to its implementation? How do you transform? We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

What you'll learn in this episode:   What jewelry can tell us about the aesthetics and values of a particular era. Why sustainability in the jewelry industry is essential, and why the definition of “sustainable” is much broader than we might think. Why maintaining purpose is the key to making our world and our creative work better. Why the term “ethical jewelry” is less about materials and more about our choices as consumers and makers. How Lisa decides which topics deserve attention at Initiatives in Art and Culture's conferences.   About Lisa Koenigsberg   Lisa Koenigsberg is President and Founder, Initiatives in Art and Culture (IAC) and an internationally recognized thought-leader in visual culture. Koenigsberg's work is characterized by commitment to authenticity, artisanry, materials, sustainability, and responsible practice. Over 20 years ago, she established IAC's multi-disciplinary conference series on visual culture and has since been responsible for launching its web-based webinars and other offerings. She has held leadership positions at NYU where she also served on the faculty, at several major museums, and at the New York City Landmarks Preservation Commission.   Koenigsberg's writings have appeared in such books as The Art of Collecting (ed. D. Jensen), Auspicious Vision: Edward Wales Root and American Modernism, Architecture: A Place for Women (eds. E. P. Berkeley and M. McQuaid), The Gilded Edge: The Art of the Frame (ed. E. Wilner), in journals such as Gems and Jewellery (the publication of the Gemmological Association of Great Britain), American Art Journal, Proceedings of the American Antiquarian Society, and Journal of the Society of Architectural Historians, as well as in magazines and in Trendvision's Trendbook.   A frequent speaker, she has also organized symposia and special sessions at universities, museums, and professional organizations throughout the US and abroad, including at the State Art Collections of Dresden, NYU, City University Graduate Center, the Smithsonian Institution, the Norton Museum of Art, and the United Nations, and has organized and chaired sessions at the American Association of Museums, the Goldsmiths Company (London), the Society of Architectural Historians, Yale University Art Gallery, the Aspen Institute, and the Jewelry Industry Summit and at JCK.   She holds graduate degrees from The Johns Hopkins University and from Yale University from which she received her PhD. She is president of the Board of the Morris–Jumel Museum, a trustee of Glessner House in Chicago, and is a member of the Advisory Board of Ethical Metalsmiths and of the board of the NY Silver Society.   Additional Resources: Initiatives in Art and Culture Instagram Initiatives in Art and Culture Facebook Initiatives in Art and Culture Linkedin Initiatives in Art and Culture Linktr.ee Lisa Koenigsberg Linkedin   Photos are available on TheJewelryJourney.com   Transcript:   What is sustainable jewelry? According to Lisa Koenigsberg, it's about much more than the materials used. As founder of Initiatives in Art and Culture (IAC), Lisa has organized dozens of conferences to encourage people to explore sustainability, stores of value, visual culture and more, all through the lens of jewelry. She joined the Jewelry Journey Podcast to talk about what visual culture is and why it's significant; what it means for makers and jewelry professionals to maintain purpose; and what we can expect from IAC's upcoming conferences. Read the episode transcript here.    Sharon: Hello everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    Today, my guest is Lisa Koenigsberg speaking to us from New York and environs back east. She is the founder of Initiatives in Art and Culture, which is focused on a number of issues such as women in western art. There's also a conference, which I just noticed, on arts and crafts in the art world. She is an internationally recognized authority on material culture. This July, she is chairing an important conference called “Maintaining Purpose” with a focus on how to make something we all love, jewelry. We'll learn more about her jewelry journey today and hear more about the conference. I didn't go into all the details of the conference and her background because it would take too long. Lisa, welcome to the program.   Lisa: Thank you. It's so nice to be here.   Sharon: Tell us about your jewelry journey. Were you a jeweler? Were you educated as a jeweler?   Lisa: No, I am not a jeweler. I am the child of two people who are very object-driven and, of course, a mother with extraordinary taste. But in terms of how you might say I studied jewelry, jewelry was part of what we looked at when thinking about—a term I find not felicitous, but I'll use it for the moment—decorative arts, so fitting into the range of the useful and the beautiful. Silver, for example. Jewelry certainly had a space there, and that was the earliest point for me that was non-life-driven.    One of the great blessings that happened to me was that I did my graduate work at Yale. That was when the arts and crafts movement wasn't codified in the same way it is now. We sat around and talked about it in the back room of the American Arts office. There were objects there, and we had the opportunity to hold, see, explore. At the time, I also used to wash silver and jewelry for an extraordinary dealer who wrote a wonderful book, Rosalie Roberian. One of the things that did was give me a sense of weight, dimension, proportion, of engaging closely with materiality. Although the arts and crafts is one dimension, I think that illustrates well one of the things that has been so important for me, which is looking for the opportunity to hold, the opportunity to talk with makers. For example, every year, The Goldsmiths' Company in the U.K. does something called the Goldsmiths' Fair. At the Goldsmiths' Fair, there is one week with 67 or so makers. During that time, you can go and speak with any of the makers, explore the work in your hand, look closely at it. I think the journey of looking is probably one of the most important things.    I've been interested in jewelry as a manifestation of the aesthetic of any era for a very long time as well. My background and training are cross-disciplinary. I'm an American studies person. For me, one of the things I always look for is what we are seeing as characteristic of an age, for example. I see jewelry as very much a part of the tangible expressions of an era. For example, if you're talking about a brooch, you can be working on a sculpture for the body, similarly with neckwear. It's one of the most intriguing forms of expression there is. Making jewelry, the impulse to craft out of whatever the culture sees as precious material, is one of the innate impulses we have, along with the urge to adorn.    If you step back and think about it, jewelry is intertwined with so many events of state, events of faith, events of heart. The Pope, for example, wears the Fisherman's Ring, and at the passing of each Pope, that ring is shattered; a new ring is made. We're all currently fixated on the crown jewels as Charles' coronation comes up. All of that is actually jewelry. It's jewelry indicative of state, of lineage, obviously of aesthetics. The band that many of us wear on one left or right ring finger, as simple or as elaborate as it may be, that is jewelry. It's a signifier. It's also invested with tremendous emotion.    Jewelry plays an enormously powerful role in culture. It's another kind of historical document. So, if we look at jewelry, we can learn things. For example, you can explore the kinds of ornament it was thought only men wore, but by actually going back and looking, as it was done in the exhibition “Golden Kingdoms,” you can see that women also wore certain kinds of major ceremonial ornament. You can learn from the inscriptions. You can learn about stylistic transmission from the aesthetics.    One of the things we don't think about so much is what we leave behind. When we go and look at how we have explored previous cultures, past cultures, one of the things we see is that the documents are often what have been termed luxury arts. They are art that are made of objects that are deemed precious within a culture. They demonstrate a certain egis over resources and talent, but they also serve as documents of that culture. They tell us things about religion, about aesthetics, about faith, about ritual. We need to be thinking about that with regard to jewelry in our own age as well. What are we leaving behind?   Sharon: You cover so many things in Initiatives in Art and Culture. You talk about gems and sustainability and art. It's so many things. How did you start this, and what is the conference about?   Lisa: I founded Initiatives in Art and Culture in 2004. One of the reasons it was started is because I had developed a series of conferences that had, at their core, a concern for visual culture. What does visual culture tell you? Because there is much to be learned about materiality. What's it made of? How do we get those materials? And that opens the door to discussing sustainability. Then, what's done with those materials? What are the forms? What are the means of expression, whether it's three-dimensional, such as a ring, or two-dimensional, except that it really has a third dimension, however subtle it may be. So, within the category of good, better or best, what differentiates an object from another? Then taking it a step further, what does that object mean in terms of the way we use it, in terms of its place in society, in terms of what it says? Beyond that, how is it linked to the time, or does it presage the future in some way? I'm sure I've left out some foci related to political and social concerns, but it's that wholeness that is inherent in visual culture. That is the focus of what IAC does. We have deep commitment to artistry and materials as well as a commitment to responsible practice.   Sharon: Several questions. Were you always interested in all of this, or is it something your professors taught you and you learned as you read? It's not the way I would look at something. I think it's really interesting. How did you start looking at this?   Lisa: I was born into a family that was and remains very visually engaged and involved with art, very involved with looking. Well before I had what one might think of as a professor, I had my parents, who in effect included me in their world of looking from moment one. My experience of art, of objects, has been part of my life since the very beginning. For us, a shared experience was very often looking, whether it was going to an exhibition or a trip planned specifically to see certain things. This was very much part of my world, or the world I was lucky enough to be born into. That included the people that were friends of my parents, and that included curators and collectors and people who were very engaged in the world of looking. My mother herself is a very well-recognized either fiber artist or artist who does sculpture using wire to explore grid and void. I say that to avoid the nomenclature wars.    I was very lucky to have some extraordinary teachers, but one of the best teachers I had was in high school. We reenacted the Ruskin Whistler trial. I was the attorney for Ruskin, so I had to know all about each one of the witnesses, each one of the people who appeared and testified in the trial, and that made art come alive in a way that was exceptional. Another thing was that during those years, there was something called the myth and image school. It's the idea that an era has emblems that are representative, that are invested with particular meaning. There may be a flip side to that emblem or a parallel that represents its opposite, but this idea, one which is very cross-disciplinary and often ranges through literature and art, was incredibly formative for me. This is the stuff my teachers exposed me to when I was 13, 14. I was reading these books because they had read them in school, in college, and they shared them with us. For me, going to university—I went to Johns Hopkins and did a BA/MA in history—it was, on the one hand, a new chapter and transformative, but on the other hand, it was in some ways a continuation of what I had been doing all the way along.    Sharon: Correct me if I'm wrong, but it seems like—I've watched your conferences for a long time, and it seems that you focus on art and gems and other things. This idea of maintaining purpose and an emphasis on sustainability seems to be in the last few years. Am I incorrect? Do you just put on a conference when you think it's a really important subject and it's coming to the fore?   Lisa: Sustainability is a dicey word when it comes to what exactly that means. At root, it is to survive, but in our thinking, sustainability is linked to responsible practice, which can involve how you source materials, how you make an object, what the circumstances and conditions of that making are. We actually have been interested in that since the first project. It was called “Green,” and it was in 2008. The reason that happened was there was an increasing concern with what was then called sustainability, which was often associated with the color green. We had something I definitely want to revive, which is a conference of 20 years of looking at fashion jewels, the zeitgeist of culture, photography, literature, etc. This term sustainability was being used, green was being used, and one of the things I didn't want to do was a superficial one-off.    So, we decided that for the 10th year—I think it was the 10th year—of that conference, we would do something called “Green: Sustainability, Significance, and Style.” In that conference we looked at color, of course; we even looked at green diamonds, but we also looked at coral and organic material that's made into jewelry. The issues pertaining to coral were at peak interest at that point, and we did quite a lot in that conference with gold.    That was the first time I worked with Toby Pomeroy, with whom I've been fortunate enough to be both friends and colleagues since then. At that point, Toby had done something that was then radical, which was to approach the refiner Hoover & Strong to see if it could be demonstrated that the materials, the scrap, that he came in with was the only material that was in the batch that was refined and that it remained segregated from everything else. That was what you might call an exploration in chain of custody, in the sense that he had a sense of origin of these materials and he wanted to ensure that he could attest to their integrity. Hoover & Strong met the challenge. At that point, Toby was making quite a lot of jewelry, and there was a term that was being used called Eco Loops. Toby has since gone on to do remarkable work with regard to mercury elimination, and he will be involved in the conference, “Maintaining Purpose,” that we are doing.    With “Maintaining Purpose”—and actually with the “Green” conference, we had Mike Kowalski, who was then the chair of Tiffany, involved in the conference. There was a great deal of focus on things like land reclamation and after-mining and that sort of thing. Having said that, one thing I'd like to stress is that one of our speakers, who at that point was the head of Bono's RED, got up and said, “I know you're all wondering, ‘What's a red person doing at a green conference?'” I felt as if I had been hit over the head with pipe, because I had never thought about environmental sustainability or integrity as being isolated from social condition and well-being. Now, when you look at the 17 SDG, you'll see so many different issues broken out, but one of the things I thought was, “Gosh, we've got to do red now,” because this is a split I wasn't thinking about or perceiving. Green and red basically led to the creation of a conference.    Our initial thinking was to do a conference that would look at precious substances. We did a coral conference; we did a diamond conference, which we were very privileged to do. We had wonderful support from Sally Morrison for that project. Then I woke up and realized we had never done gold, so effectively what happened is that the conference on precious substances became the Gold Conference. The Gold Conference is now entering its 13th year. We broadened gold to include gold and diamonds because we wanted to draw people's attention to stores of value, which these materials are, and also comparative approaches to things like mining, whether it's formalized or otherwise. And also because, of course, metal and stone go together. That's not to say we do not explore and include focus on other stones. We're very proud that Cruzeiro Mines, which is a tourmaline and rubellite mine from Brazil that has exemplary practices and absolutely beautiful stones, is participating in this year's conference.    But the way the Gold and Diamond Conference evolved was it came to use jewelry as a lens for a 360-degree approach to the life and the issues associated with the material in question. On the one hand, you have great artistry, like Giovanni Corvaja. We were privileged to have Daniel Brush speak, whose loss I feel keenly. Every year we welcome wonderful jewelers. At the same time, we think about the issues related to extracting material or recycling material and what those words mean. What is recycling? We have repurposed since the dawn of time, so what gives something that halo of recycling? Do we have to think about what we're using? And, of course, jewelry is a created object. What are the environmental ramifications of extracting, creating the jewelry business writ large? Often in our heads, we think about jewelry and we see a craftsperson, a maker. That aspect of things is very dear to our hearts, and we're keenly interested in artisanry. At the same time, you have other aspects to this jewelry industry, large corporations that produce for particular market segments. You have the luxe maison.    In some ways, they're all compatriots in a world, in other ways competitors in a world, and yet bound together by a common concern for ensuring that this world we have continues. Without this world, without this air, without this earth, we are nothing. We can't make anything. We have effaced ourselves. I think there is a point of critical mass that's been reached where there is a deep and general concern. One of the things I fear and that I hope I can help with is building community to encourage people to keep going forward despite the fears that we may have about doing something a different way. Last year our conference was “Boldly Building the Future.” How do you boldly build the future? We have many declarations that have been stated about gold, for example. There was a declaration drafted and shepherded through for the gold industry by LBMA and the World Gold Council. They have principles. Principles are not blueprints. How do you get from that vision, the abstract vision, to its implementation? How do you transform?   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. 

Links from the show:* First Among Men: George Washington and the Myth of American Masculinity* Jefferson's Body: A Corporeal Biography* Do we need political parties?* Dude food is not patriotic – vegetables and moderation are more deeply rooted in the nation's early historyAbout my guest:Maurizio Valsania is professor of American history at the University of Turin, Italy. An expert on the Early American Republic, he analyzes the founders within their social, intellectual, and material context, especially through the lens of the 18th-century body. He is the author of The Limits of Optimism: Thomas Jefferson's Dualistic Enlightenment (University of Virginia Press, 2011), Nature's Man: Thomas Jefferson's Philosophical Anthropology (University of Virginia Press, 2013), Jefferson's Body: A Corporeal Biography (University of Virginia Press, 2017), and First Among Men: George Washington and the Myth of American Masculinity (Johns Hopkins University Press, 2022, a book represented by literary agent Scott Mendel of the Mendel Media Group). Valsania is the recipient of several fellowships from leading academic institutions, including the American Antiquarian Society, the Gilder Lehrman Institute of American History, the Library Company, the John D. Rockefeller Library, the DAAD (Germany), the International Center for Jefferson Studies, and the George Washington's Mount Vernon. He has written for the Oxford University Press's Academic Insights for the Thinking World, for the Oxford Bibliographies Online, and has collaborated with the BBC World Service. He has also written several Op-Eds and articles that have appeared in major media outlets, such as the Chicago Tribune, the Mississippi Free Press, Salon, the Wisconsin State Journal, Government Executive, Defense One, and the Conversation. He lives in Chapel Hill, NC. Get full access to Dispatches from the War Room at dispatchesfromthewarroom.substack.com/subscribe

In conversation with Imani Perry Ilyon Woo is the author of The Great Divorce, the ''lively, well-written, and engrossing tale'' (The New York Times Book Review) of a young mother's five-year fight against her husband, the Shakers religious sect, and the norms of 19th century United States for her and her children's freedom. The recipient of a Whiting Creative Nonfiction Writing Grant and of fellowships from the American Antiquarian Society and the National Endowment for the Humanities, Woo has contributed writing to The Wall Street Journal and The Boston Globe. Her latest book recounts the remarkable true story of an enslaved husband and wife who posed as master and slave while trekking more than a 1,000 miles to freedom in mid-19th century United States. Imani Perry won the 2022 National Book Award for nonfiction for South to America: A Journey Below the Mason-Dixon to Understand the Soul of a Nation. Her other books include, Vexy Thing: On Gender and Liberation, Breathe: A Letter to My Sons, and Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry. Perry is the Hughes-Rogers Professor of African American Studies and faculty associate in the Program in Law and Public Affairs and Gender and Sexuality Studies at Princeton University. (recorded 1/19/2023)

In this episode, Dr. Scott Casper of the American Antiquarian Society assesses the system of separated and shared powers created in the U.S. Constitution. Center for Civic Education

Today we kick off a special series adapted from the We the People Open Course, a free online course on the U.S. Constitution that you can find at Learn.civiced.org. We're joined by Dr. Scott Casper, president of the American Antiquarian Society. To start, we ask him: What questions did the Framers consider when designing the three branches of the national government? Center for Civic Education

Monarch butterflies are still in the middle of their story – and it's one that is precarious. Humans are still trying to figure out a lot about them, and aspects of the monarch story have been misrepresented over the years. Research: Monarch Joint Venture: https://monarchjointventure.org/ “Monarch Butterfly.” The National Wildlife Federation. https://www.nwf.org/Educational-Resources/Wildlife-Guide/Invertebrates/Monarch-Butterfly Sutherland, Douglas W.S. and Jean Adams, ed. “The Monarch Butterfly – Our National Insect.” Part of “Insect Potpourri: Adventures in Entomology.” CRC Press. 1992. Britannica, The Editors of Encyclopaedia. "Danaus". Encyclopedia Britannica, 15 Feb. 2018, https://www.britannica.com/topic/Danaus-Greek-mythology Kathleen S. Murphy. “Collecting Slave Traders: James Petiver, Natural History, and the British Slave Trade.” The William and Mary Quarterly, vol. 70, no. 4, 2013, pp. 637–70. JSTOR, https://doi.org/10.5309/willmaryquar.70.4.0637 Müller-Wille, Staffan. "Carolus Linnaeus". Encyclopedia Britannica, 19 May. 2022, https://www.britannica.com/biography/Carolus-Linnaeus Stearns, Raymond Phineas. “James Petiver: Promoter of Natural Science, c.1663-1718.” American Antiquarian Society. October 1952. https://www.americanantiquarian.org/proceedings/44807240.pdf “Mark Catesby (1683 – 1749).” Catesby Commemorative Trust. 2012. https://web.archive.org/web/20130906122250/http://www.catesbytrust.org/mark-catesby/ Smith-Rogers, Sheryl. “Maiden of the Monarchs.” TEXAS PARKS & WILDLIFE. March 2016. https://monarchjointventure.org/images/uploads/documents/legacy_monarch_catalina_trail_article.pdf Scott, Alec. “Where do you go, my lovelies?” University of Toronto Magazine. Aug. 24, 2015. https://magazine.utoronto.ca/campus/history/where-do-you-go-my-lovelies-norah-and-fred-urquhart-monarch-butterfly-migration/ Hannibal, Mary Ellen. “How you can help save the monarch butterfly -- and the planet.” TEDTalk. April 28, 2020. https://www.youtube.com/watch?v=wvJTbegktKc Jarvis CE, Oswald PH. The collecting activities of James Cuninghame FRS on the voyage of Tuscan to China (Amoy) between 1697 and 1699. Notes Rec R Soc Lond. 2015 Jun 20;69(2):135–53. doi: 10.1098/rsnr.2014.0043. “The US Endangered Species Act.” World Wildlife Federation. https://www.worldwildlife.org/pages/the-us-endangered-species-act#:~:text=Passed%20with%20bipartisan%20support%20in,a%20species%20should%20be%20protected. Associated Press. “Beloved monarch butterflies are now listed as endangered.” WBEZ Chicago. July 23, 2022. https://www.wbez.org/stories/beloved-monarch-butterflies-are-now-listed-as-endangered/0f3cf69b-8376-42eb-af0a-9e8b8b4ab6b3 Garland, Mark S., and Andrew K. Davis. “An Examination of Monarch Butterfly (Danaus Plexippus) Autumn Migration in Coastal Virginia.” The American Midland Naturalist, vol. 147, no. 1, 2002, pp. 170–74. JSTOR, http://www.jstor.org/stable/3083045 “Natural History – Monarch Butterfly.” Center for Biological Diversity. https://www.biologicaldiversity.org/species/invertebrates/monarch_butterfly/natural_history.html Catesby, Mark. “A Monarch butterfly, with orchids.” C. 1722-6. Royal Collection Trust. https://www.rct.uk/collection/926050/a-monarch-butterfly-with-orchids Daly, Natasha. “Monarch butterflies are now an endangered species.” July 21, 2022. National Geographic. https://www.nationalgeographic.com/animals/article/monarch-butterflies-are-now-an-endangered-species Walker, A., Oberhauser, K.S., Pelton, E.M., Pleasants, J.M. & Thogmartin, W.E. 2022. Danaus plexippus ssp. plexippus. The IUCN Red List of Threatened Species 2022: e.T194052138A200522253. https://dx.doi.org/10.2305/IUCN.UK.2022-1.RLTS.T194052138A200522253.en Price, Michael. “Monarch miscalculation: Has a scientific error about the butterflies persisted for more than 40 years?” Science. Feb. 24, 2007. https://www.science.org/content/article/monarch-miscalculation-has-scientific-error-about-butterflies-persisted-more-40-years Jiang, Kevin. “Study sheds light on evolutionary origins and the genes central to migration.” UChicago News. Oct. 6, 2014. https://news.uchicago.edu/story/genetic-secrets-monarch-butterfly-revealed Borkin, Susan Sullivan. “Notes on Shifting Distribution Patterns and Survival of Immature Danaus Plexippus (Lepidoptera: Danaidae) on the Food Plant Asclepias Syriaca.” The Great Lakes Entymologist. Vol. 15, No. 3. Fall 1982. https://scholar.valpo.edu/cgi/viewcontent.cgi?article=1437&context=tgle Cudmore, Rebecca. “SNAPSHOT: Monarchs with big, bright wings arrive in Mexico first.” ScienceLine. June 16, 2014. https://scienceline.org/2014/06/monarch-migration/ Brower, Lincoln P. “UNDERSTANDING AND MISUNDERSTANDING THE MIGRAnON OF THE MONARCH BUTTERFLY (NYMPHALIDAE) IN NORTH AMERICA: 1857-1995.” Journal of the Lepidopterists' Society. Vol. 49, No. 4, 1995. https://www.fs.fed.us/wildflowers/pollinators/Monarch_Butterfly/documents/Understanding_Monarch_Migration1995-Brower.pdf See omnystudio.com/listener for privacy information.

The anglophone Caribbean and other parts of the former British empire celebrate Emancipation Day on the First of August, commemorating the abolition of slavery on August 1, 1804. In this episode, Dr. Natasha Lightfoot joins us for a discussion on Antigua's intricate story of emancipation, freedom, and the impact of colonialism then and now.  Natasha Lightfoot is an Associate Professor in the Department of History and Faculty Fellow in the Department of African American and African Diaspora Studies at Columbia University. Her research and teaching interests include Atlantic slavery and emancipation, Black community formation and acts of resistance, and daily practices of freedom in the nineteenth-century English speaking Caribbean. She is the author of Troubling Freedom: Antigua and the Aftermath of British Emancipation (Duke University Press, 2015), which focuses on black working people's struggles and everyday forms of liberation in British colonial Antigua after slavery's end. She has also been published in The New York Times, as well as a number of academic journals including The CLR James Journal, Slavery & Abolition, Small Axe, and most recently the William and Mary Quarterly. Her research has been supported by fellowships from the American Antiquarian Society, the Ford Foundation, the Schomburg Center for Research in Black Culture, the British Library, and most recently from the American Council of Learned Societies. She is currently writing a book titled Fugitive Cosmopolitans about enslaved people's mobility, imperial subjecthood and struggles for freedom between empires in the Caribbean. Follow Dr. Lightfoot on Twitter.  Connect with Strictly Facts -  Instagram | Facebook | TwitterLooking to read more about the topics covered in this episode? Subscribe to the newsletter at www.strictlyfactspod.com to get the Strictly Facts Syllabus to your email!Produced by Breadfruit Media

Deborah Sampson could count William Bradford and Myles Standish in her family tree. That tree didn't include Robert Shurtlliff; that was the alias Deborah used to enlist in the Continental Army. Research: "Deborah Sampson." Encyclopedia of World Biography Online, vol. 37, Gale, 2017. Gale In Context: Biography, link.gale.com/apps/doc/K1631010696/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=67aa7490. Accessed 13 June 2022. Cowan, Leigh Alison. “The Woman Who Sneaked Into George Washington's Army.” New York Times. 7/2/2019. https://www.nytimes.com/2019/07/02/arts/design/the-woman-who-sneaked-into-george-washingtons-army.html Davis, Curtis Carroll. “A ‘Galantress' Gets Her Due: The Earliest Published Notice of Deborah Sampson.” Proceedings of the American Antiquarian Society  1981-10-21: Vol 91 Iss 2. https://www.americanantiquarian.org/proceedings/44517675.pdf Foner, Philip S. “Black Participation in the Centennial of 1876.” Phylon (1960-) , 4th Qtr., 1978, Vol. 39, No. 4 (4th Qtr., 1978). https://www.jstor.org/stable/274895 Gannett, Deborah Sampson. “Diary of Deborah Sampson Gannett in 1802 (facsimile).” Facsimile by Eugene Tappan. 1901. https://archive.org/details/diaryofdeborahsa00gann/ Grant De Pauw, Linda. “REPLY: Deborah Sampson Gannett.” H-Minvera Discussion Logs. 2/9/2000. https://lists.h-net.org/cgi-bin/logbrowse.pl?trx=vx&list=h-minerva&month=0002&week=b&msg=7zkXCrd1QbfeT5kbVeln8A&user=&pw= Hiltner, Judith. “'The Example of our Heroine': Deborah Sampson and the Legacy of Herman Mann's The Female Review.”  American Studies , Spring, 2000, Vol. 41, No. 1. Via JSTOR. https://www.jstor.org/stable/40643118 Hiltner, Judith. “She Bled in Secret': Deborah Sampson, Herman Mann and ‘The Female Review.'” Early American Literature , 1999, Vol. 34, No. 2. Via JSTOR. https://www.jstor.org/stable/25057161 Hiltner, Judth R. “'Like a Bewildered Star": Deborah Sampson, Herman Mann, and ‘Address, Delivered with Applause'.” Rhetoric Society Quarterly , Spring, 1999, Vol. 29, No. 2. Via JSTOR. https://www.jstor.org/stable/3886083 Historic New England. “Gown.” https://www.historicnewengland.org/explore/collections-access/gusn/189811/ Katz, Brigit. “Diary Sheds Light on Deborah Sampson, Who Fought in the Revolutionary War.” Smithsonian. 7/2/2019. https://www.smithsonianmag.com/smart-news/diary-sheds-light-deborah-sampson-who-fought-revolutionary-war-180972547/ Lafleur, Greta L. “Precipitous Sensations: Herman Mann's ‘The Female Review' (1797), Botanical Sexuality, and the Challenge of Queer Historiography.” Early American Literature , 2013, Vol. 48, No. 1. Via JSTOR. https://www.jstor.org/stable/24476307 Letter from Paul Revere to William Eustis, 20 February 1804. Transcript. https://www.masshist.org/database/viewer.php?item_id=326&img_step=1&mode=transcript#page1 Mann, Herman. “The female review: or, Memoirs of an American young lady; whose life and character are peculiarly distinguished--being a Continental soldier, for nearly three years, in the late American war. During which time, she performed the duties of every department, into which she was called, with punctual exactness, fidelity and honor, and preserved her chastity inviolate, by the most artful concealment of her sex. : With an appendix, containing charcteristic traits, by different hands; her taste for economy, principles of domestic education, &c..”  1797 . https://quod.lib.umich.edu/e/evans/N24494.0001.001?view=toc Michals, Debra, editor. “Deborah Sampson.” National Women's History Museum. https://www.womenshistory.org/education-resources/biographies/deborah-sampson Michals, Debra.  "Margaret Cochran Corbin."  National Women's History Museum.  2015. www.womenshistory.org/education-resources/biographies/margaret-cochran-corbin. Nell, William C. “Colored Patriots of the American Revolution.” Robert F. Wallcut. 1855. https://archive.org/details/coloredpatriots00stowgoog/ Nellis, Rachel. “Deborah Sampson at War.” The American Revolution Institute. May 15, 2020. https://www.americanrevolutioninstitute.org/video/deborah-sampson-at-war/ Norwood, William Frederick. “Deborah Sampson, Alias Robert Shirtliff, Fighting Female of the Continental Line.” Bulletin of the History of Medicine. March-April 1957. Via JSTOR. http://www.jstor.com/stable/44443973 Phoner, Philip S. “Black Participation in the Centennial of 1876.” Phylon (1960-) , 4th Qtr., 1978, Vol. 39, No. 4. Via JSTOR. : https://www.jstor.org/stable/274895 Roberts, Cokie. “Founding Mothers.” Excerpted at the Museum of the American Revolution. https://www.amrevmuseum.org/read-the-revolution/founding-mothers Serfilippi, Jessie. “Deborah Sampson.” George Washington's Mount Vernon Center for Digital History. https://www.mountvernon.org/library/digitalhistory/digital-encyclopedia/article/deborah-sampson/ Sharon Historical Society. “Publications of the Sharon Historical Society of Sharon, Massachusetts.” 1905. https://archive.org/details/publicationsofsh02shar/ See omnystudio.com/listener for privacy information.

In this episode, Dr. Scott Casper of the American Antiquarian Society assesses the system of separated and shared powers created in the U.S. Constitution. Center for Civic Education

Today we kick off a special series adapted from the We the People Open Course, a free online course on the U.S. Constitution that you can find at Learn.civiced.org. We're joined by Dr. Scott Casper, president of the American Antiquarian Society. To start, we ask him: What questions did the Framers consider when designing the three branches of the national government? Center for Civic Education

In this episode of Channel U, we celebrate National Poetry Month. Our guest is Union Institute & University alumna Lois Roma-Deeley (Ph.D. 2000). The award-winning poet, educator and current Poet Laureate of Scottsdale, Arizona will read selected poems from her books and discuss her work, her approach to writing, and her journey as a writer. Her most recent full-length book of poetry is The Short List of Certainties, winner of the Jacopone da Todi Book Prize. She is the author of three previous collections: Rules of Hunger, northSight and High Notes, which was a finalist for the Patterson Poetry Prize. Her fifth book of poetry, Like Water in the Palm of My Hand, is forthcoming from Kelsey Books in 2022. Roma-Deeley's poems have been featured in numerous literary journals and anthologies, nationally and internationally. Roma-Deeley was named the 2012-2013 U.S. Community College Professor of the Year by the Carnegie Foundation for the Advancement of Teaching and CASE. Roma-Deeley founded and directed the Creative Writing and Women's Studies programs at Paradise Valley Community College as well as the Creative Writing Women's Caucus of the Association of Writers and Writing Programs. Roma-Deeley is Associate Editor of Presence: A Journal of Catholic Poetry. Authors of Union features a conversation with one of our published authors. Your host is Dr. Linwood Rumney, professor in the UI&U General Education Program, poet and author. He is the winner of the 17th Annual Gival Press Poetry Award for Abandoned Earth. His poems and nonfiction essays have appeared in many publications including the North American Review and Crab Orchard Review. His translations of Aloysius Bertrand, an early practitioner of the modern prose poem in French, have appeared in Arts & Letters and Hayden's Ferry Review. His fellowships include the American Antiquarian Society, The Writers' Room of Boston, and the St. Botolph Club, as well as a residency from the Kimmel Harding Nelson Center. He recently completed his Ph.D. as a Charles Phelps Taft Dissertation Fellow at UC.

Princeton AAS Podcast S2 E07 A Painter's Eye In this episode, we sit down with the legendary historian and artist Nell Painter to discuss her career and its connections to Black Studies. From reckoning with historical figures as individuals, to her life and work at Princeton, to her own works-in-progress, this podcast has something for everyone. Our hosts dive deep into Painter's legacy and the lessons she has for our present moment. The Culture of __ “This new and 'old' artist offers a self-portrait in starting over,” PBS NewsHour, July 23, 2018 “Nell Painter: Old In Art School,” GBH Forum Network, July 31, 2018 The Breakdown - Guest Info Nell Irvin Painter (nellpainter.com)  Nell Irvin Painter is Edwards Professor of American History, Emerita at Princeton University. She was Director of Princeton's Program in African-American Studies from 1997 to 2000. In addition to her doctorate in history from Harvard University, she has received honorary doctorates from Wesleyan, Dartmouth, SUNY-New Paltz, and Yale. Prof. Painter has published numerous books, articles, reviews, and other essays, including The History of White People. She has served on numerous editorial boards and as an officer of many different professional organizations, including the American Historical Association, the Organization of American Historians, the American Antiquarian Society, the Association for the Study of Afro-American Life and History, and the Association of Black Women Historians. Nell Painter (the painter formerly known as the historian Nell Irvin Painter) lives and works in Newark, New Jersey. Her work carries discursive as well as visual meaning, and is made in a manual and digital process. Using found images and digital manipulation, she reconfigures the past and self-revision through self-portraits. After a life of historical truth and political engagement with American society, her artwork represents freedom, including the freedom to be totally self-centered. See, Hear, Do “The Extraordinary Women of AAS Featuring Nell Painter,” Princeton University Department of African American Studies, March 28, 2022 Nell Irvin Painter, Southern History Across the Color Line (Chapel Hill: University of North Carolina Press, 2021 [2002]) Nell Painter, “American Whiteness Since Trump,” James Fuentes Gallery, 2020 “Nell Painter and Black Power in Print,” Museum of Fine Arts Boston, November 15, 2021 “Nell Irvin Painter to Deliver the Charles Homer Haskins Prize Lecture,” American Council of Learned Societies Annual Meeting, Friday, April 29, 2022 @ 6:00 PM EST (registration in link)

Authors of Union features a conversation with one of our many published authors. Today's guest is Peter Lazes, (Union Ph.D. '74) alumnus with concentrations in Clinical and Industrial Psychology. Peter's book “From the Ground Up: How Frontline Staff Can Save Americas Healthcare,” coauthored with Marie Rudden, M.D., outlines concrete steps to improve the healthcare system with research-based labor management practices that apply to all areas of work. A specialist in organizational change, leadership development, and labor-management partnerships, Dr. Lazes will discuss the importance of worker participation in decision-making that has applications in many sectors of our economy. Dr. Lazes is the founder and former director of the Healthcare Transformation Project and Programs for Employment and Workplace Systems at Cornell University's School of Industrial and Labor Relations, where he served for 40 years. He is now Visiting Professor and Co-Coordinator, Healthcare Partnership Initiative, School of Labor and Employment Relations, Penn State University. He has worked with labor union and management leaders in the U.S. and Europe to customize and implement strategic worker participation programs and employee-driven innovative opportunities. His recent work involves assisting hospitals and healthcare organizations to develop methods to improve patient care and reduce costs with a focus on frontline staff engagement. He has written more than 30 articles on such topics as the creation of agile work systems, new roles for unions in the 21st century, ways to create meaningful jobs, methods to increase civic participation, strategies for keeping American jobs and has produced several videotapes on topics such as creating breakthroughs in organizations. Dr. Lazes and his partner Marie Rudden, MD, plan to create a series of webinars about labor/management partnerships in the near future. Your host is Dr. Linwood Rumney, professor in the UI&U General Education Program, poet, and author. He is the winner of the 17th Annual Gival Press Poetry Award for Abandoned Earth. His poems and nonfiction essays have appeared in many publications including the North American Review and Crab Orchard Review. His translations of Aloysius Bertrand, an early practitioner of the modern prose poem in French, have appeared in Arts & Letters and Hayden's Ferry Review. His fellowships include the American Antiquarian Society, The Writers' Room of Boston, and the St. Botolph Club, as well as a residency from the Kimmel Harding Nelson Center. He recently completed his Ph.D. as a Charles Phelps Taft Dissertation Fellow at UC.

Authors of Union features a conversation with one of our many published authors. Today's guest is Peter Lazes, (Union Ph.D. '74) alumnus with concentrations in Clinical and Industrial Psychology. Peter's book “From the Ground Up: How Frontline Staff Can Save Americas Healthcare,” coauthored with Marie Rudden, M.D., outlines concrete steps to improve the healthcare system with research-based labor management practices that apply to all areas of work. A specialist in organizational change, leadership development, and labor-management partnerships, Dr. Lazes will discuss the importance of worker participation in decision-making that has applications in many sectors of our economy. Dr. Lazes is the founder and former director of the Healthcare Transformation Project and Programs for Employment and Workplace Systems at Cornell University's School of Industrial and Labor Relations, where he served for 40 years. He is now Visiting Professor and Co-Coordinator, Healthcare Partnership Initiative, School of Labor and Employment Relations, Penn State University. He has worked with labor union and management leaders in the U.S. and Europe to customize and implement strategic worker participation programs and employee-driven innovative opportunities. His recent work involves assisting hospitals and healthcare organizations to develop methods to improve patient care and reduce costs with a focus on frontline staff engagement. He has written more than 30 articles on such topics as the creation of agile work systems, new roles for unions in the 21st century, ways to create meaningful jobs, methods to increase civic participation, strategies for keeping American jobs, and has produced several videotapes on topics such as creating breakthroughs in organizations. Dr. Lazes and his partner Marie Rudden, MD, plan to create a series of webinars about labor/management partnerships in the near future. Your host is Dr. Linwood Rumney, professor in the UI&U General Education Program, poet, and author. He is the winner of the 17th Annual Gival Press Poetry Award for Abandoned Earth. His poems and nonfiction essays have appeared in many publications including the North American Review and Crab Orchard Review. His translations of Aloysius Bertrand, an early practitioner of the modern prose poem in French, have appeared in Arts & Letters and Hayden's Ferry Review. His fellowships include the American Antiquarian Society, The Writers' Room of Boston, and the St. Botolph Club, as well as a residency from the Kimmel Harding Nelson Center. He recently completed his Ph.D. as a Charles Phelps Taft Dissertation Fellow at UC.

Welcome to The Academic Life! In this episode you'll hear about: Megan Fraser's job collecting and curating a Punk Rock archive, her current work at the Research Institute for Contemporary Outlaws, the outreach necessary for inclusion, the ethics of acquisitions, the complexity of preservation concerns, and why not everything can be saved. Our guest is: Megan Hahn Fraser has worked as the Assistant Curator of Manuscripts at The New-York Historical Society, the Library Director at the Independence Seaport Museum in Philadelphia, Co-Head of Collection Management at UCLA Library Special Collections in Los Angeles, and the Vice President and Marcus A. McCorison Librarian at the American Antiquarian Society in Worcester, Mass. Currently, she and her husband, also an archivist, are working for the Research Institute for Contemporary Outlaws, a private collection of 20th century counter-culture materials based in Los Angeles. She received her Master of Information and Library Science (with a concentration in archives management) degree from Pratt Institute in 2000, and has an undergraduate degree in history from New York University. While at UCLA in 2014, Megan founded the Los Angeles Punk Rock Archive Collective, a group of archivists and others focused on acquiring collections from musicians, artists, and fans of the punk rock scene in Southern California. She has given presentations at the Society of American Archivists annual conference, the South by Southwest Festival, the L.A. as Subject Archives Bazaar, and the Legion of Steel Metalfest and Conference. She can be found on Twitter @mmhfraser, where she talks about archives, justice, and The Clash. Our host is: Dr. Christina Gessler, co-producer of the Academic Life. She is a historian of women and gender, and can often be found in an archive reading 19th century New England farm women's diaries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life

Welcome to The Academic Life! In this episode you'll hear about: Megan Fraser's job collecting and curating a Punk Rock archive, her current work at the Research Institute for Contemporary Outlaws, the outreach necessary for inclusion, the ethics of acquisitions, the complexity of preservation concerns, and why not everything can be saved. Our guest is: Megan Hahn Fraser has worked as the Assistant Curator of Manuscripts at The New-York Historical Society, the Library Director at the Independence Seaport Museum in Philadelphia, Co-Head of Collection Management at UCLA Library Special Collections in Los Angeles, and the Vice President and Marcus A. McCorison Librarian at the American Antiquarian Society in Worcester, Mass. Currently, she and her husband, also an archivist, are working for the Research Institute for Contemporary Outlaws, a private collection of 20th century counter-culture materials based in Los Angeles. She received her Master of Information and Library Science (with a concentration in archives management) degree from Pratt Institute in 2000, and has an undergraduate degree in history from New York University. While at UCLA in 2014, Megan founded the Los Angeles Punk Rock Archive Collective, a group of archivists and others focused on acquiring collections from musicians, artists, and fans of the punk rock scene in Southern California. She has given presentations at the Society of American Archivists annual conference, the South by Southwest Festival, the L.A. as Subject Archives Bazaar, and the Legion of Steel Metalfest and Conference. She can be found on Twitter @mmhfraser, where she talks about archives, justice, and The Clash. Our host is: Dr. Christina Gessler, co-producer of the Academic Life. She is a historian of women and gender, and can often be found in an archive reading 19th century New England farm women's diaries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Authors of Union features a conversation with one of our published authors. Your host is Dr. Linwood Rumney, professor in the UI&U General Education Program, poet and author. He is the winner of the 17th Annual Gival Press Poetry Award for Abandoned Earth. His poems and nonfiction essays have appeared in many publications including the North American Review and Crab Orchard Review. His translations of Aloysius Bertrand, an early practitioner of the modern prose poem in French, have appeared in Arts & Letters and Hayden's Ferry Review. His fellowships include the American Antiquarian Society, The Writers' Room of Boston, and the St. Botolph Club, as well as a residency from the Kimmel Harding Nelson Center. He recently completed his Ph.D. as a Charles Phelps Taft Dissertation Fellow at UC. Today's conversation (part two of two) is with Union Ph.D. '99 alumnus Melvin Gravely II, author of Dear White Friend: The Realities of Race, the Power of Relationships, and Our Path to Equity. Dr. Gravely eloquently accomplishes what many have undoubtedly wished to do: talk openly to someone we know about race in the United States today. He uses significant experience as a business and civic leader to express a rare balance in this timely message. The book is a forthright, collegial conversation via chapters in the form of letters, each with a combination of personal reflection and meaningful hard facts. He challenges the reader but without judgment or indictment. His depth of thought, deftness of expression, and clear, layman's terms make for an urgent call to begin to close the gap between races in America. The book presents an invitation to understand three questions at the heart of the issue: What is really going on with race in our country? Why must we care? And what can we do about it together? In the end, Dr. Gravely calls on us to ask ourselves, “What is my role in all of this?” After reading Dear White Friend: The Realities of Race, the Power of Relationships, and Our Path to Equity readers will understand why their answer to his question can change everything.

Authors of Union features a conversation with one of our published authors. Your host is Dr. Linwood Rumney, professor in the UI&U General Education Program, poet and author. He is the winner of the 17th Annual Gival Press Poetry Award for Abandoned Earth. His poems and nonfiction essays have appeared in many publications including the North American Review and Crab Orchard Review. His translations of Aloysius Bertrand, an early practitioner of the modern prose poem in French, have appeared in Arts & Letters and Hayden's Ferry Review. His fellowships include the American Antiquarian Society, The Writers' Room of Boston, and the St. Botolph Club, as well as a residency from the Kimmel Harding Nelson Center. He recently completed his Ph.D. as a Charles Phelps Taft Dissertation Fellow at UC. Today's conversation (part one of two) is with Union Ph.D. '99 alumnus Melvin Gravely II, author of Dear White Friend: The Realities of Race, the Power of Relationships, and Our Path to Equity. Dr. Gravely eloquently accomplishes what many have undoubtedly wished to do: talk openly to someone we know about race in the United States today. He uses significant experience as a business and civic leader to express a rare balance in this timely message. The book is a forthright, collegial conversation via chapters in the form of letters, each with a combination of personal reflection and meaningful hard facts. He challenges the reader but without judgment or indictment. His depth of thought, deftness of expression, and clear, layman's terms make for an urgent call to begin to close the gap between races in America. The book presents an invitation to understand three questions at the heart of the issue: What is really going on with race in our country? Why must we care? And what can we do about it together? In the end, Dr. Gravely calls on us to ask ourselves, “What is my role in all of this?” After reading Dear White Friend: The Realities of Race, the Power of Relationships, and Our Path to Equity readers will understand why their answer to his question can change everything.

Honorée Fanonne Jeffers is the author of five poetry collections, including The Gospel of Barbecue, Red Clay Suite, and The Age of Phillis, which was longlisted for the 2020 National Book Award for Poetry and won a 2021 NAACP Image Award. Critic at Large for The Kenyon Review and a professor of English at the University of Oklahoma, Jeffers has been awarded fellowships from the National Endowment for the Arts and the American Antiquarian Society. Additionally, Jeffers has been honored with the Harper Lee Award for Literary Distinction and with induction into the Alabama Writers Hall of Fame. An instant New York Times bestseller and an Oprah Book Club selection, her debut novel The Love Songs of W.E.B. Du Bois chronicles the centuries-spanning journey of a Black American family from the days of the colonial slave trade to our own unsteady era. The director of the Smithsonian's National Museum of African American History and Culture, Kevin Young is also the poetry editor for The New Yorker, where he hosts the Poetry Podcast. He is the author of the poetry collections Brown, Blue Laws, Book of Hours, and Jelly Roll, a finalist for the National Book Award. His nonfiction books include Bunk and The Grey Album: On the Blackness of Blackness, a finalist for the National Book Critics Circle Award. The former director of the Schomburg Center for Research in Black Culture at the New York Public Library, Young has been honored with the Lenore Marshall Prize for Poetry, an American Book Award, and the Paterson Poetry Prize. Stones is the newest collection from Young, ''one of the poetry stars of his generation'' (Los Angeles Times). (recorded 10/18/2021)

Since 1972, Dr. Steven Lomazow has been building a collection of important American periodicals; it's now considered to be the most extensive in private hands. "The Steven Lomazow Collection of American Periodicals has been curated for the purpose of demonstrating the role of magazines as a reflection of all aspects American popular culture from pre-revolutionary times to the present day." Highlights of the collection were featured in an exhibition at The Grolier Club in New York this Spring called Magazines and the American Experience. A celebration of this vitally important American medium, the exhibition illustrated, among other things, how magazines fostered the development of distinct communities of Americans by creating networks of communication. The accompanying catalogue expands upon the exhibition with a series of essays by leading media historians. It's enhanced by more than four hundred illustrations.  Steven has been a consultant to the Newseum in Washington, D.C and is presently a member of the American Antiquarian Society. He is a board-certified neurologist with a practice in Belleville, New Jersey. We met via Zoom to discuss why collecting magazines is so pleasurable, American magazines in particular. The discussion references Vogue, Life, Look, Harper's, Leslie's, Hearst's and many more iconic publications.   

Welcome to The Academic Life. You are smart and capable, but you aren't an island and neither are we. So we reached across our mentor network to bring you podcasts on everything from how to finish that project, to how to take care of your beautiful mind. Wish we'd bring on an expert about something? DM us your suggestion on Twitter: The Academic Life @AcademicLifeNBN. In this episode you'll hear about: how Megan became an archivist, the unusual collections she works with, why archives can be intimidating, how historians and archivists work together, and archival etiquette tips for new researchers. Our guest is: Megan Hahn Fraser, who has worked as the Assistant Curator of Manuscripts at The New-York Historical Society, the Library Director at the Independence Seaport Museum in Philadelphia, Co-Head of Collection Management at UCLA Library Special Collections in Los Angeles, and the Vice President and Marcus A. McCorison Librarian at the American Antiquarian Society in Worcester, Mass. Currently, she is working for the Research Institute for Contemporary Outlaws, a private collection of 20th century counter-culture materials based in Los Angeles. She received her Master of Information and Library Science (with a concentration in archives management) degree from Pratt Institute in 2000, and has an undergraduate degree in history from New York University. While at UCLA in 2014, Megan founded the Los Angeles Punk Rock Archive Collective, a group of archivists and others focused on acquiring collections from musicians, artists, and fans of the punk rock scene in Southern California. She has presented at the Society of American Archivists annual conference, the South by Southwest Festival, the L.A. as Subject Archives Bazaar, and the Legion of Steel Metalfest and Conference. She can be found on Twitter @mmhfraser, talking about archives, justice, and The Clash. Our host is: Dr. Christina Gessler, the co-producer of the Academic Life podcasts, and a historian of women and gender. She has a small garden. Listeners to this episode might be interested in: UCLA Library Special Collections Punk archive Research Institute for Contemporary Outlaws on Instagram For more information on how reliance on contingent labor is detrimental to the responsible stewardship of archives American Historical Association open letter to National Archives and Records Administration and retraction Society of American Archivists (SAA) Responds to the American Historical Association Priceless: How I Went Undercover to Rescue the World's Stolen Treasures by Robert K. Wittman (2010) Meetings with Remarkable Manuscripts: Twelve Journeys into the Medieval World by Christopher de Hamel (2017) Standing in their own Light: African American Patriots in the American Revolution by Judith L. Van Buskirk (2017) Indecent Advances: A Hidden History of True Crime and Prejudice Before Stonewall by James Polchin (2019) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life

Welcome to The Academic Life. You are smart and capable, but you aren't an island and neither are we. So we reached across our mentor network to bring you podcasts on everything from how to finish that project, to how to take care of your beautiful mind. Wish we'd bring on an expert about something? DM us your suggestion on Twitter: The Academic Life @AcademicLifeNBN. In this episode you'll hear about: how Megan became an archivist, the unusual collections she works with, why archives can be intimidating, how historians and archivists work together, and archival etiquette tips for new researchers. Our guest is: Megan Hahn Fraser, who has worked as the Assistant Curator of Manuscripts at The New-York Historical Society, the Library Director at the Independence Seaport Museum in Philadelphia, Co-Head of Collection Management at UCLA Library Special Collections in Los Angeles, and the Vice President and Marcus A. McCorison Librarian at the American Antiquarian Society in Worcester, Mass. Currently, she is working for the Research Institute for Contemporary Outlaws, a private collection of 20th century counter-culture materials based in Los Angeles. She received her Master of Information and Library Science (with a concentration in archives management) degree from Pratt Institute in 2000, and has an undergraduate degree in history from New York University. While at UCLA in 2014, Megan founded the Los Angeles Punk Rock Archive Collective, a group of archivists and others focused on acquiring collections from musicians, artists, and fans of the punk rock scene in Southern California. She has presented at the Society of American Archivists annual conference, the South by Southwest Festival, the L.A. as Subject Archives Bazaar, and the Legion of Steel Metalfest and Conference. She can be found on Twitter @mmhfraser, talking about archives, justice, and The Clash. Our host is: Dr. Christina Gessler, the co-producer of the Academic Life podcasts, and a historian of women and gender. She has a small garden. Listeners to this episode might be interested in: UCLA Library Special Collections Punk archive Research Institute for Contemporary Outlaws on Instagram For more information on how reliance on contingent labor is detrimental to the responsible stewardship of archives American Historical Association open letter to National Archives and Records Administration and retraction Society of American Archivists (SAA) Responds to the American Historical Association Priceless: How I Went Undercover to Rescue the World's Stolen Treasures by Robert K. Wittman (2010) Meetings with Remarkable Manuscripts: Twelve Journeys into the Medieval World by Christopher de Hamel (2017) Standing in their own Light: African American Patriots in the American Revolution by Judith L. Van Buskirk (2017) Indecent Advances: A Hidden History of True Crime and Prejudice Before Stonewall by James Polchin (2019) Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to The Academic Life. You are smart and capable, but you aren't an island and neither are we. So we reached across our mentor network to bring you podcasts on everything from how to finish that project, to how to take care of your beautiful mind. Wish we'd bring on an expert about something? DM us your suggestion on Twitter: The Academic Life @AcademicLifeNBN. In this episode you'll hear about: how Megan became an archivist, the unusual collections she works with, why archives can be intimidating, how historians and archivists work together, and archival etiquette tips for new researchers. Our guest is: Megan Hahn Fraser, who has worked as the Assistant Curator of Manuscripts at The New-York Historical Society, the Library Director at the Independence Seaport Museum in Philadelphia, Co-Head of Collection Management at UCLA Library Special Collections in Los Angeles, and the Vice President and Marcus A. McCorison Librarian at the American Antiquarian Society in Worcester, Mass. Currently, she is working for the Research Institute for Contemporary Outlaws, a private collection of 20th century counter-culture materials based in Los Angeles. She received her Master of Information and Library Science (with a concentration in archives management) degree from Pratt Institute in 2000, and has an undergraduate degree in history from New York University. While at UCLA in 2014, Megan founded the Los Angeles Punk Rock Archive Collective, a group of archivists and others focused on acquiring collections from musicians, artists, and fans of the punk rock scene in Southern California. She has presented at the Society of American Archivists annual conference, the South by Southwest Festival, the L.A. as Subject Archives Bazaar, and the Legion of Steel Metalfest and Conference. She can be found on Twitter @mmhfraser, talking about archives, justice, and The Clash. Our host is: Dr. Christina Gessler, the co-producer of the Academic Life podcasts, and a historian of women and gender. She has a small garden. Listeners to this episode might be interested in: UCLA Library Special Collections Punk archive Research Institute for Contemporary Outlaws on Instagram For more information on how reliance on contingent labor is detrimental to the responsible stewardship of archives American Historical Association open letter to National Archives and Records Administration and retraction Society of American Archivists (SAA) Responds to the American Historical Association Priceless: How I Went Undercover to Rescue the World's Stolen Treasures by Robert K. Wittman (2010) Meetings with Remarkable Manuscripts: Twelve Journeys into the Medieval World by Christopher de Hamel (2017) Standing in their own Light: African American Patriots in the American Revolution by Judith L. Van Buskirk (2017) Indecent Advances: A Hidden History of True Crime and Prejudice Before Stonewall by James Polchin (2019) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Sights and sites to see in an and around Worcester Mass. that may puzzle or intrigue you. We discuss the concept of road trips in general and explain how the road trip itself started in Massachusetts. I want to talk about 5 or so things. A hat, a tower, a pumpkin, an unpronounceable name, and a strange street. The Duryea Brothers of Automobile History (thoughtco.com) Stephen Jendrysik: Chicopee played important role in the early 20th century auto industry (masslive.com) Pastie Duggan (patsiedugans.com) Golemos Market (golemos-market.food96.com) "Bancroft Tower is a 56-foot-high natural stone and granite tower, which looks like a miniature feudal castle. It is located in Salisbury Park, in the city of Worcester, Massachusetts. It was erected in 1900, in memory of George Bancroft." (discovercentralma.org) "Salisbury's interest in archeology was sparked during his first visit to the Yucatan peninsula in 1862. He wrote several essays on South American archeology for the Proceedings of the American Antiquarian Society, including "Dr. LePlongeon in Yucatan," (1877) and "Terra Cotta Figure from Isla Mujeres," (1878)." (americanantiquarian.org) Salusbury Mansion/Worcester Historical Museum (worcesterhistory.org) Worcester Art Museum (worcesterart.org) The American Antiquarian Society (americanantiquarian.org) Grave of Stephen Salisbury III (findagrave.com) The Central Massachusetts Korean War Memorial (kwmworcester.org) The Epic Halloween Store In Massachusetts That Gets Better Year After Year (onlyinyourstate.com) Chargoggagoggmanchauggagoggchaubunagungamaugg (ctmq.org) 11 Places in The World You'll Never Be Able to Pronounce (theculturetrip.com) LostMass Podcast Reviews at Apple (podcasts.apple.com) Photos at: instagram.com/lostmassachusetts Sound Effects From Zapsplat (zapsplat.com) Music Courtesy of Free Music Archive (freemusicarchive.org) More on lostmassachusetts.com --- Send in a voice message: https://anchor.fm/lostmass/message Support this podcast: https://anchor.fm/lostmass/support

Matt Erskine – The Confident Retirement Podcast with Brett Kris Flammang and Mark Picchi Episode 012 Matt Erskine Matt Erskine is a fourth-generation estate attorney and managing partner of Erskine & Erskine LLC. He provides creative estate and strategic tax planning for business owners, collectors, and their families. He is also a contributor to Forbes Magazine and other financial publications.   Matt's true passion is customized planning for art collections as well as legacy real estate and family businesses. His love for history and the law drives him to achieve the objectives of security, satisfaction, and growth.    Matt has been counseling families since 1876, their firm has provided him great perspective in this area of law. Utilizing tools like personal trusts, dynasty trusts, private foundations, and family offices is their specialty.    Based in the Worcester, Massachusetts area, Matt is an active member of the American Antiquarian Society, Worcester Economics Club, and the John J. Kittredge Numismatic Foundation. A Lawrence Academy alumnus, where he received his B.A. in Medieval History from Carleton College and J.D. from Suffolk University Law School. Listen to this dynamic The Confident Retirement Podcast episode with Matt Erskine. He had a lot of life experiences and stories that we can get a lot from. His unique perspectives teach a lot more of the importance in planning your estate, especially for those who has unique assets and is keeping the legacy and story of the family.  Here is what to expect on this week's show: -Matt shares the story of how he took over the firm that is now on the fourth-generation, and how he was able to use his love for history in his area of practice. -He gives us a peek on what estate planning is for unique assets and how he helps in planning in the succession of these assets. -Listen to your clients, resolve conflicts in a win-win situation and learn more about computers. Matt is giving this valuable advice to his younger self and for you. -Get to learn more about what Numismatics and Private Fiduciary means and does. -Breaking the misconception that trust and estate attorneys is an afterthought, and that people don't need to plan their estate NOW. -What are the advantages of integrating multiple professionals in planning your estates? -Know more about Matt and what he loves doing within the business, and outside of it. Plus, who is going to take over the next generation of the practice? Connect with Matt Erskine: Website: https://www.erskineco.com/ LinkedIn: https://www.linkedin.com/in/erskineco/ Instagram: https://www.instagram.com/uniqueestateplans/ Facebook: https://www.facebook.com/erskinecompany Twitter: https://twitter.com/erskinecompany   Connect with Kris and Mark Website: https://www.lpfadvisors.com/ LinkedIn: https://www.linkedin.com/in/kristopher-flammang-lpfadv/ Twitter: @kflammang #MarkPicchi Learn more about your ad choices. Visit megaphone.fm/adchoices

What can we make of the fact that Robinson Crusoe was invoked in an 1835 issue of Mechanics’ Magazine in an article extolling the economic power of labor? Or that Harriet Jacobs patterned parts of her autobiographical slave narrative after Samuel Richardson’s Pamela? Or that The American Sunday School Union issued a cautionary poem about little girls’ tendencies to misread Bunyan’s The Pilgrim’s Progress as an adventure tale and strike out on their own unsupervised pilgrimages? “On the Margins” examines how early novelistic fictions made their way into the reading lives of American readers who were disempowered along lines of race, gender, age, and economic status, and argues that we can begin to answer the questions posed above by attending to the material reconfigurations of these works in the emerging mass-print marketplace of the antebellum United States. This project sits at the intersection of novel theory, histories of reading, and histories of the book, and like many transatlantic studies of popular literature, is interested in the way reprinting, editing, and imitation transform a work across time and space. This presentation will focus on the ways abridgements, adaptations, chapbooks, children’s editions, and visual culture invocations of each of these novels influenced their reception, generic status, and canonization in the nineteenth century, and reveal ways readers resisted or subverted prevailing accounts of both the risks and benefits associated with evolving projects of literary inclusion. Emily Gowen is the current Albert M. Greenfield Dissertation Fellow at the Library Company of Philadelphia and a Ph.D. Candidate in Boston University's department of English. Essays adapted from her dissertation project are forthcoming in J19: The Journal of Nineteenth-Century Americanists and American Literature. Her work has also been supported by fellowships from the American Antiquarian Society, the McNeil Center for Early American Studies, and she will be a 2021-22 Fellow at the Boston University Center for the Humanities. She is also an affiliate at Boston University's Center for Antiracist Research.

James D. Moran, vice president for programs and outreach at the American Antiquarian Society joins us to talk about the amazing life and career of tsaiah Thomas  (1749-1831), publisher of the Massachusetts Spy,  and a leader in the Sons of Liberty, and founder of the American Antiquarian Society.   Find out how Thomas stole his printing press out of Boston on April 16, 1775, and then published his account of the battles of Lexington and Concord (he was a witness to the fighting in Lexington)  in Worcester on May 3.  Thomas:  Patriot Printer

Print culture expanded significantly in the nineteenth century due to new print technologies and more efficient distribution methods, providing literary critics, who were alternately celebrated and reviled, with an ever-increasing number of venues to publish their work. Adam Gordon embraces the multiplicity of critique in the period from 1830 to 1860 by exploring the critical forms that emerged. Prophets, Publicists, and Parasites is organized around these sometimes chaotic and often generative forms and their most famous practitioners: Edgar Allan Poe and the magazine review; Ralph Waldo Emerson and the quarterly essay; Rufus Wilmot Griswold and the literary anthology; Margaret Fuller and the newspaper book review; and Frederick Douglass’s editorial repurposing of criticism from other sources. Revealing the many and frequently competing uses of criticism beyond evaluation and aesthetics, this insightful study offers a new vision of antebellum criticism, a new model of critical history, and a powerful argument for the centrality of literary criticism to modern life. Adam Gordon is Associate Professor of English at Whitman College in Walla Walla, WA, where he teaches early and nineteenth-century American literature. He received his BA from the University of Pennsylvania and his PhD from the University of California, Los Angeles. Before starting at Whitman, Adam served as the Greenfield Dissertation Fellow at the Library Company of Philadelphia, the Hench Post-Dissertation Fellow at the American Antiquarian Society, and held William K. Peck and Mellon Foundation fellowships at the Huntington Library in San Marino, CA. His work has appeared in journals such as American Literature, Arizona Quarterly, Early American Literature, and the Nathaniel Hawthorne Review. This past year, his book, Prophets, Publicists, and Parasites: Antebellum Print Culture and the Rise of the Critic was published by the University of Massachusetts Press. This chat originally aired at 7:00 p.m. Thursday, March 11, 2021.

Drawing on period texts and illustrations (travelogues, almanacs, journals, advertisements) promoting coal, this talk will consider how contemporary audiences came to understand this fossil fuel in three ways: through the lens of landscape, as a geological specimen, and as a central component of the domestic sphere. Come learn about how coal’s multiple roles in the visual economy of the early-19th-century prompted a broadening of its use in the following decades. Rebecca Szantyr was the 2019-2020 William H. Helfand Visual Culture Fellow at the Library Company of Philadelphia. She is currently a Ph.D. candidate in the Department of the History of Art and Architecture at Brown University, where her research focuses on 18th- and 19th-century print culture. Her dissertation on the Neapolitan-American artist Nicolino Calyo examines the overlap of popular culture and the fine arts in the Atlantic World. From 2015-2018, Rebecca was the Florence B. Selden Fellow in the Department of Prints and Drawings at the Yale University Art Gallery, where she curated exhibitions on Jacob Lawrence and the history of caricature. Her research has been supported by the American Antiquarian Society, the Joukowsky Research Travel Fund at Brown, the Winterthur Museum, Garden & Library, and the Library Company. This chat originally aired at 5:00 p.m. Thursday, December 3, 2020.

Ep. 123: Lisa Bielawa, composer and vocalist. Let's Talk Off The Podium with Tigran Arakelyan. In this podcast Bielawa talks about a recent project called Broadcast from Home, work with Philip Glass, time at Yale, various major projects and much more. Composer, producer, and vocalist Lisa Bielawa is a Rome Prize winner in Musical Composition and takes inspiration for her work from literary sources and close artistic collaborations. Her music has been described as “ruminative, pointillistic and harmonically slightly tart,” by The New York Times. She is the recipient of the 2017 Music Award from the American Academy of Arts & Letters and was named a William Randolph Hearst Visiting Artist Fellow at the American Antiquarian Society for 2018.  Bielawa consistently executes work that incorporates community-making as part of her artistic vision. She has created music for public spaces in Lower Manhattan, the banks of the Tiber River in Rome, on the sites of former airfields in Berlin in San Francisco, and to mark the 30th anniversary of the fall of the Berlin Wall. Her music has recently been premiered at the NY PHIL BIENNIAL, Lincoln Center, Carnegie Hall, The Kennedy Center, SHIFT Festival, and Naumburg Orchestral Concerts, among others. She will have her second residency as a performer/composer at John Zorn’s venue The Stone in March 2020. Orchestras that have championed her music include the The Knights, Boston Modern Orchestra Project, American Composers Orchestra, and the Orlando Philharmonic. Premieres of her work have been commissioned and presented by the Chamber Music Society of Lincoln Center, Brooklyn Rider, Seattle Chamber Music Society, American Guild of Organists, and more.  Bielawa began touring as the vocalist with the Philip Glass Ensemble in 1992 and in 2019 she became the inaugural Composer-in-Residence and Chief Curator of the Philip Glass Institute at The New School. In 1997 Bielawa cofounded the MATA Festival, which celebrates the work of young composers, and for five years she was the artistic director of the San Francisco Girls Chorus.  She received a 2018 Los Angeles Area Emmy nomination for her unprecedented, made-for-TV-and-online opera Vireo: The Spiritual Biography of a Witch's Accuser, created with librettist Erik Ehn and director Charles Otte. Vireowas filmed in twelve parts in locations across the country and features over 350 musicians. Vireo was released on CD/DVD in 2019 (Orange Mountain Music) and she is also recorded on the Tzadik, TROY, Innova, BMOP/sound, Supertrain Records, Sono Luminus, and Cedille labels. For more information about Lisa Bielawa please visit: www.lisabielawa.net © Let's Talk Off The Podium, 2020

Dr. Allison K. Lange is Associate Professor of History at the Wentworth Institute of Technology. She received her Ph.D. in History from Brandeis University. The subject of this Fireside Chat, is her book Picturing Political Power: Images in the Women's Suffrage Movement, published in May 2020 by the University of Chicago Press. Dr. Lange's book focuses on the ways that women's rights activists and their opponents used images to define gender and power during the suffrage movement. Numerous institutions have supported her work, including the National Endowment for the Humanities, Andrew W. Mellon Foundation, Library of Congress, and American Antiquarian Society. Dr. Lange was the William H. Helfand Fellowship in American Visual Culture at the Library Company in 2012. This chat originally aired at 7:00 p.m., Thursday, May 28, 2020.

On the morning of November 1, 1755, a devastating earthquake struck the Portuguese capital of Lisbon. The quake leveled buildings, triggered fires, and caused a tsunami that laid waste to the urban landscape. When it was all over, thousands were dead.  The Lisbon earthquake was a disaster of epic proportions, so much so that it became the subject of the first major international disaster relief effort. People from around the Atlantic world contributed funds to Lisbon and its inhabitants, including a £100,000 donation from King George II of Great Britain.  The quake also marked a change in how people around the Atlantic world responded to disasters. Surely, many who awoke that morning to celebrate All Saints Day attributed the devastation to God's wrath, but in the era of the Enlightenment, many more still looked to reason and science as modes of explanation, and to alleviate the suffering. On today's episode, Dr. Cindy Kierner of George Mason University joins us to discuss the origins of our modern attitudes toward disasters. She is the author of the new book, Inventing Disaster: The Culture of Calamity from the Jamestown Colony to the Johnstown Flood. And as you might have divined from the book's subtitle, how we now respond to disasters like the coronavirus, California wildfires, or Hurricane Katrina is the product of a long history that dates back to the 17th century. About Our Guest: Cindy Kierner received her Ph.D. from the University of Virginia in 1986. A specialist in the fields of early America, women and gender, and early southern history, she is the author or editor of eight books and many articles. Kierner is an OAH Distinguished Lecturer and past president of the Southern Association for Women Historians (SAWH), and she has served on several editorial boards. Her research has received support from the American Historical Association, the Virginia Historical Society, the Library Company of Philadelphia, the American Antiquarian Society, and the National Endowment for the Humanities. About Our Host: Jim Ambuske, Ph.D. leads the Center for Digital History at the Washington Library. A historian of the American Revolution, Scotland, and the British Atlantic World, Ambuske graduated from the University of Virginia in 2016. He is a former Farmer Postdoctoral Fellow in Digital Humanities at the University of Virginia Law Library. At UVA Law, Ambuske co-directed the 1828 Catalogue Project and the Scottish Court of Session Project.  He is currently at work on a book about emigration from Scotland in the era of the American Revolution as well as a chapter on Scottish loyalism during the American Revolution for a volume to be published by the University of Edinburgh Press.

On the morning of November 1, 1755, a devastating earthquake struck the Portuguese capital of Lisbon. The quake leveled buildings, triggered fires, and caused a tsunami that laid waste to the urban landscape. When it was all over, thousands were dead. The Lisbon earthquake was a disaster of epic proportions, so much so that it became the subject of the first major international disaster relief effort. People from around the Atlantic world contributed funds to Lisbon and its inhabitants, including a £100,000 donation from King George II of Great Britain. The quake also marked a change in how people around the Atlantic world responded to disasters. Surely, many who awoke that morning to celebrate All Saints Day attributed the devastation to God’s wrath, but in the era of the Enlightenment, many more still looked to reason and science as modes of explanation, and to alleviate the suffering. On today’s episode, Dr. Cindy Kierner of George Mason University joins us to discuss the origins of our modern attitudes toward disasters. She is the author of the new book, Inventing Disaster: The Culture of Calamity from the Jamestown Colony to the Johnstown Flood. And as you might have divined from the book’s subtitle, how we now respond to disasters like the coronavirus, California wildfires, or Hurricane Katrina is the product of a long history that dates back to the 17th century. About Our Guest: Cindy Kierner received her Ph.D. from the University of Virginia in 1986. A specialist in the fields of early America, women and gender, and early southern history, she is the author or editor of eight books and many articles. Kierner is an OAH Distinguished Lecturer and past president of the Southern Association for Women Historians (SAWH), and she has served on several editorial boards. Her research has received support from the American Historical Association, the Virginia Historical Society, the Library Company of Philadelphia, the American Antiquarian Society, and the National Endowment for the Humanities. About Our Host: Jim Ambuske leads the Center for Digital History at the Washington Library. He received his Ph.D. in history from the University of Virginia in 2016 with a focus on Scotland and America in an Age of War and Revolution. He is a former Farmer Postdoctoral Fellow in Digital Humanities at the University of Virginia Law Library. At UVA, Ambuske co-directed the 1828 Catalogue Project and the Scottish Court of Session Project. He is the co-author with Randall Flaherty of "Reading Law in the Early Republic: Legal Education in the Age of Jefferson," in The Founding of Thomas Jefferson's University ed. by John A. Rogasta, Peter S. Onuf, and Andrew O'Shaughnessy (Charlottesville: University of Virginia Press, 2019). Ambuske is currently at work on a book entitled Emigration and Empire: America and Scotland in the Revolutionary Era, as well as a chapter on Scottish loyalism during the American Revolution for a volume to be published by the University of Edinburgh Press. --- Send in a voice message: https://anchor.fm/mountvernon/message

In the aftermath of the War of 1812, Major General Andrew Jackson ordered a joint United States army-navy expedition into Spanish Florida to destroy a free and independent community of fugitive slaves. The result was the Battle of Negro Fort, a brutal conflict among hundreds of American troops, Indian warriors, and black rebels that culminated in the death or re-enslavement of nearly all of the fort's inhabitants. By eliminating this refuge for fugitive slaves, the United States government closed an escape valve that African Americans had utilized for generations. At the same time, it intensified the subjugation of southern Native Americans, including the Creeks, Choctaws, and Seminoles. Still, the battle was significant for another reason as well. During its existence, Negro Fort was a powerful symbol of black freedom that subverted the racist foundations of an expanding American slave society. Its destruction reinforced the nation's growing commitment to slavery, while illuminating the extent to which ambivalence over the institution had disappeared since the nation's founding. Indeed, four decades after declaring that all men were created equal, the United States destroyed a fugitive slave community in a foreign territory for the first and only time in its history, which accelerated America's transformation into a white republic. The Battle of Negro Fort places the violent expansion of slavery where it belongs, at the center of the history of the early American republic.-Matthew J. Clavin, Professor of History at the University of Houston, is the author of Aiming for Pensacola: Fugitive Slaves on the Atlantic and Southern Frontiers, Toussaint Louverture and the Civil War: the Promise and Peril of a Second Haitian Revolution, and The Battle of Negro Fort: The Rise and Fall of a Fugitive Slave Community. Professor Clavin writes and teaches in the areas of American and Atlantic history, with a focus on the history of race, slavery, and abolition. He received his Ph.D. at American University in 2005 and is the recipient of numerous awards and fellowships from the American Antiquarian Society, the Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition, the National Endowment for the Humanities, and others.---Support for the Age of Jackson Podcast was provided by Isabelle Laskari, Jared Riddick, John Muller, Julianne Johnson, Laura Lochner, Mark Etherton, Marshall Steinbaum, Martha S. Jones, Michael Gorodiloff, Mitchell Oxford, Richard D. Brown, Rod, Rosa, Stephen Campbell, and Victoria Johnson, Alice Burton, as well as Andrew Jackson's Hermitage​ in Nashville, TN.

Dr. Nicole Cooley reads and shares stories about her work in this episode hosted by Henry Goldkamp. Originally aired on May 11th 2019. NICOLE COOLEY grew up in New Orleans, Louisiana. Her most recent books are two poetry collections, Girl after Girl after Girl (Louisiana State University Press, 2017) and Of Marriage(Alice James Books, 2018). She has published four other collections of poems, Breach, Milk Dress, The Afflicted Girls and Resurrection, as well as a novel, Judy Garland, Ginger Love, a chapbook, Frozen Charlottes, A Sequence, and a collaborative artists' book (with book artist Maureen Cummins), Salem Lessons. Her awards include The Walt Whitman Award from the Academy of American Poets, a Discovery/The Nation Award, Creative Artists fellowship from The American Antiquarian Society, and the Emily Dickinson Award from the Poetry Society of America. Her scholarly work includes serving as co-editor of the “Mother” issue of the journal Women's Studies Quarterly as well as publishing essays in At Length, Pilot Light: A Journal of 21st Century Poetics. Her non-fiction essays have recently appeared in The Southern Review, The Rumpus, The Feminist Wire, and The Atlantic. 8 She has taught at Bucknell University and as well in Merida, Mexico with US Poets in Mexico and at the Chautauqua Institution. Currently, she is the director of the MFA Program in Creative Writing and Literary Translation at Queens College-City University of New York where she is a professor of English. Dr. Nicole Cooley's books are available at Octavia Books in New Orleans and on Amazon.com. HENRY GOLDKAMP's 's recent work appears or is forthcoming in Indiana Review, Diagram, South Carolina Review and The McNeese Review among others. He is the grateful recipient of the Ryan Chighizola Prize for poetry from the University of New Orleans. He is also a member of The Class-a group of poets-writers in New Orleans. Currently, Henry lives in Louisiana with his small, lovely family

It's time to gather your jade eggs, kale shakes and moon lotion as your aunties Naama and Jessi tell you the story of a time long before Gwyneth Paltrow was telling us to pay into her wellness industrial complex. This is a tale as old as ancient grains...this is the story of John Harvey Kellogg and his militant veganism and search for a nutriment-filled and racially cleansed new world. Join us as we discuss The Hygenic Cookbook and learn about enemas, soy milk, and the American Antiquarian Society.

Come to the Bower was an early Nineteenth Century minstrel tune that made the rounds of stages and taverns across the United States. It is a simple story of seduction in which a young rake is promising a delightful location for a tryst he has created in some secluded and shady place. It is a bawdy descendent of a slightly earlier Irish patriot tune, Come to the Bower, which invited volunteers to come to the Emerald Isle to free the nation from British occupation after the failed 1798 rebellion. The version presented here, the American minstrel tune, is taken from manuscript sheet music in the holdings of the American Antiquarian Society and is performed by Kay Frazier of the Jacobs School of Music at Indiana University, and Marc Sanders of Abilene Christian University on piano. The tune came to be associated with the April 21, 1836 Battle of San Jacinto because, as the tale is told, it was part of the repertoire of two teenaged Texian musicians pressed into service to provide martial music for the advance. Thus, Sam Houston and his army marched toward destiny in step to a slightly off-color tavern tune that magically captured the spirit of the age.

What did people read in the colonial era? How were books printed? How else the the written word shape early America? This week, we're joined by an expert from the American Antiquarian Society to answer these questions and more on books and reading in colonial times!

Any thinking American is drawn to Abraham Lincoln. His story invites us to marvel at how this poor, self-educated, frontier lawyer transformed himself into a political leader who defended democracy, preserved the nation, and abolished slavery. As late as 1859, when asked to provide an autobiographical sketch, he mused there was not much to say because "there is not much of me." If not much then, there would be plenty ahead. Despite his stature, much of what we think we know about Lincoln isn't necessarily based on fact. In this episode, Professor Lou Masur looks at the facts, and the fictions, surrounding Lincoln's Presidency. What were his real attitudes toward slavery, and how did they change over time? How did he approach presidential power? And did he ever recognize the Confederacy as legitimate? Louis Masur is a Distinguished Professor of American Studies and History at Rutgers University. He received outstanding teaching awards from Rutgers, Trinity College, and the City College of New York, and won the Clive Prize for Excellence in Teaching from Harvard University. He is the author of many books including "Lincoln's Last Speech," which was inspired by a talk he presented at One Day University. His essays and articles have appeared in the New York Times, Boston Globe, Dallas Morning News, and Chicago Tribune. He is an elected member of the American Antiquarian Society and serves on the Historians' Council of the Gettysburg Foundation.

In any competitive landscape, keeping a legacy cultural institution relevant is a challenge. Keeping it relevant while retaining the original vision is an even greater challenge. For many in the travel and tourism industry, we’re always looking to strike a balance between differentiation and collaboration. We really need both to thrive. In New England, where you can’t walk ten feet without bumping into a place with historical significance, Old Sturbridge Village is striking this balance. In this episode, we hear from Jim Donahue. Jim is highly regarded in the nonprofit sector as a collaborative visionary. He is recognized as one of the top nonprofit executives in New England, with an impressive background in leadership, education, and fundraising. Prior to taking the position as president and CEO for Old Sturbridge Village, Jim was the CEO of the Bradford Dunn Institute for Learning Differences in Providence, Rhode Island. In that time, he managed the merger between the Bradford Dunn Institute and CVS Highlander Charter School in 2004. During his seven-year tenure as the director of the charter school, he led the renovation of two campuses for the school and the establishment of several key capacity-building partnerships. Since taking over as Old Sturbridge Village president in 2007, Jim has led the institution through a renaissance by increasing attendance, fundraising, and revenue from special programs. Highlights of his tenure include the reopening of the museum’s restaurant division, the renovation, and reopening of the lodging complex, the creation of the Ken Burns Lifetime Achievement Award, establishing an immersive theater program, including The Sleepy Hollow Experience, and the expansion of popular events like Christmas by Candlelight and Fourth of July. In 2017, he launched Old Sturbridge Academy, the first public charter school located in a museum in Massachusetts. A revolutionary model of experiential learning, and a partnership between a school and museum, the academy is already changing the lives of its students, many of whom come from underperforming school districts. In 2010, he was named Nonprofit Leader of the Year by the Worcester Business Journal, and in 2013, received the Larry Meehan Award for the Massachusetts Office of Travel and Tourism. He is a member of the American Antiquarian Society, a Fellow of the Massachusetts Historical Society, and has served on the boards of a number of Rhode Island nonprofits. Full show notes available here: https://breaktheicemedia.com/podcasts/jim-donahue/

Celebrated historian Nell Irvin Painter's many books include Sojourner Truth, Creating Black Americans, and, most recently, The History of White People, a national bestseller examining the dangerous socially constructed notion of whiteness. The Edwards Professor of American History, Emerita, at Princeton University, Painter directed that institution's Program in African American Studies from 1997 to 2000 and has served on a number of editorial boards and professional groups, including the Society of American Historians, the Association of Black Women Historians, and the American Antiquarian Society. Old in Art School is a memoir of Painter's surprising decision to return to the academy as a student in her sixties to earn a BFA and MFA in painting. Watch the video here. (recorded 5/22/2018)

[paypal-donation] Mark Hofmann was a successful document dealer in the 1980s.  Why did he kill?  Document Examiner George Throckmorton gives his insights into the Hofmann case, and why Hofmann killed.  Mark forged the first printed work in America, Oath of a Freeman.  The sale of the document was supposed to fetch between $1-1.5 million, but the sale was going slowly. https://youtu.be/s9nMpylQs7g George:  He makes a second Oath of a Freeman. He actually made a third, which he was trying to sell them in Brazil, but I don't know how many people knew that. The second one he sells to somebody up in Idaho and I'm not going to describe him. I know it'd be interesting, but if I describe him, there might be a lot of people that know who it is. But there's a fellow up in Idaho and he sells it to him for $100,000. ... He gets $100,000 and then later on the person up in Idaho, he sees where they got the Oath of a Freeman back in New York. And they're selling it and he says, "This isn't an original that I purchased. Hofmann told me it was an original." So, he called him on the phone, and he says, "So is this isn't an original."  He actually meets with him and says, “This is not an original document, is not worth $100,000. I want my money back.” Mark doesn't have any money. And apparently an argument ensued or something. And Mark gets physically assaulted. This was the first time in his life, we know of, that somebody actually physically assaulted him. Before he's dealing with, what do they call him, Mr. Milk Toasts. You know, historians are generally laid back, calm person. I don't know anybody other than a couple that hollered at me. But most of them I don't think they do. And nobody had ever hit him before. He had bounced checks on him. He would lie to them about documents and that. And it was well known. He was like that. But they wanted to go back to him because he could provide the documents they wanted. He took orders for documents frequently and miraculously found them. But anyway, this guy up in Idaho, he beat him up. Hofmann didn't know what to think. Nobody's ever hit him before and he's a coward. That's why they bomb. Because you don't have to be there when somebody gets injured. And, so anyway, the guy says, "I want my money back and I want it next Monday," or whatever it was. Now what is he going to do? Now this is speculative, but it seems to make sense from the bits of pieces of puzzle that we put together. He says, “What can I do so he won't come after me and hit me anymore?” And he's thinking, you know, "If one of my best friends die, I'll have an excuse to go to his funeral and he won't come back. He'll give me a few days. By then the Oath will be sold back there.” And in fact, I think it was the American Antiquarian Society was meeting to discuss purchasing it again on Tuesday or Wednesday of that week. We know that because we saw the agenda for the meeting. And again, I don't know how many of the other investigators saw this, but we did. That's why this is another piece that we had that others did not, so that day of either Tuesday or Wednesday is crucial because that's when they're voting to buy it. And Schiller & Wapner convinced him they're going to buy it so he knows he's going to get it. So, he needs to postpone just a couple of days before this guy comes back and beats him up again. And so, we found in his possession a three by five card that had five of his closest friends written, their names written on it in Mark's handwriting. And by the name of Steve Christensen was an asterisk. We're assuming that he put the asterisk there. But anyway, so it was one of his five closest friends he had to kill so he could go to their funeral. The bombs came up. Steve Christensen was blown up and of course the second bomb was a diversionary thing for the police department, which they believed for several days that they were involved, not in the Salamander Letter,

Updated 5/2019 with Captain Cache’s Curiosities Podcast episode Ahoy there! ‘Tis I, Capt’n Cache, here to tell ye about a new digital resource available at yer Library District. Our mateys over at the Front Range Community College have gone ahead and added a new database from EBSCO to the Answer Cache eResources so it be […]

They say the personal is political. But the rivalry between Thomas Jefferson and Alexander Hamilton may be the most political of any relationship in history. Hamilton is experiencing a well-deserved revival. His vision of America as an economic powerhouse with an aggressive government as its engine has found many followers. He helped get the Constitution ratified, found the Federalist Party, and served as the first Secretary of the Treasury. But Jefferson fought bitterly with Hamilton throughout their careers and articulated a very different vision for the new nation, promoting an agrarian democracy built upon geographic expansion—an "empire of liberty," he called it. These tensions remain embedded in the Constitution and in the debates that roil politics in America to this day! Louis Masur is a Distinguished Professor of American Studies and History at Rutgers University. He received outstanding teaching awards from Rutgers, Trinity College, and the City College of New York, and won the Clive Prize for Excellence in Teaching from Harvard University. He is the author of many books including "Lincoln's Last Speech," which was inspired by a talk he presented at One Day University. His essays and articles have appeared in the New York Times, Boston Globe, Dallas Morning News, and Chicago Tribune. He is an elected member of the American Antiquarian Society and serves on the Historians' Council of the Gettysburg Foundation.

February 6, 2018 at the Boston Athenæum. In this richly illustrated talk, Georgia Barnhill sheds fresh light on the beloved American luminist painter and printmaker Fitz Henry Lane, the subject of her current exhibition, Drawn from Nature & On Stone: The Lithographs of Fitz Henry Lane at the Cape Ann Museum. Barnhill, curator emerita of graphic arts at the American Antiquarian Society, considers Lane’s work within the context of his contemporaries, Benjamin Chimney, Robert Cooke, Benjamin F. Nutting, Robert Salmon, David Claypoole Johnston—among others and explores his deep association with the Boston Athenæum, where the artist first exhibited in 1841.

Gregory Nobles is professor emeritus in the School of History and Sociology at Georgia Tech in Atlanta, Georgia, where he first started teaching in 1983. He just finished a term as Mellon Distinguished Scholar in Residence at the American Antiquarian Society. He has published and lectured widely on everything from early and revolutionary American politics to the American frontier to John James Audubon. His current work is tentatively titled “Betsey Stockton’s Mission: From Slavery to Freedom, From Princeton to the Pacific.” In this interview, Greg talks about this newest project, tells us a bit about the history of social history, and discusses how his work as a historian has affected his personal life.

If Instagram encourages us all to be the curators of our accounts, does that make actual library and museum curators ideal Instagrammers? In this episode, we speak with Lauren Hewes, the American Antiquarian Society's curator of graphic arts and Instagrammer extraordinaire, about the parallels between designing an exhibition and posting to Instagram, what it means for individuals to "curate" their social media presence, and how she's cultivated the persona of (in her words) a 205-year-old grandma as the voice of the AAS Instagram. (Intro music: "Two Types of Awakenings" by Nheap)

Curt Bench (owner of Benchmark Books in Salt Lake City) knew Mark Hofmann very well, having purchased many artifacts and documents from him.    Hofmann's most famous forgery was known as the White Salamander Letter. The letter threatened to re-write Mormon history and fooled many experts in Mormon history. It was just such a different take on the traditional story as one could imagine, and so he [Mark Hofmann] had claimed to have gotten it back east, a letter that came into his hands through a compatriot of his when actually later we find out that Mark created the document.  It kind of turned Mormon history on its head and then you have people squaring up on each side, the scholars that are trying to make sense of it and others saying there's no way that could be true. Mark didn't just fool Mormon experts.  He actually tried to sell something to the Library of Congress and many of those experts were fooled as well. Oath of a Free Man which was the first printed item in America that he tried to sell to the Library of Congress for $1 million to $1 million and a half.  He completely created that.  He has the plates made for it.  He printed it and altered letters and kind of rubbed them down so they looked old.  He did all kinds of things and the Library of Congress was doing tests on it, and the American Antiquarian Society was another that looked very closely at buying that, and that was a huge deal when that failed to sell because Mark owed so many people money because of his schemes and a lot of it was over the McLellin Collection which nobody ever saw but there was a lot of talk about and a lot of money that changed hands over it.  Because that failed to sell, The Oath of a Free Man, Mark was in a world of hurt financially and had to come up with money. It's amazing the number of experts Hofmann was able to fool.  Don't forget to check out Part 1 of our conversation.  What do you think? https://youtu.be/qCt4v47KMlc https://gospeltangents.com/shop/transcripts/white-salamander-letter-other-forgeries/

This week, we’re going to talk about Isaiah Thomas.  Not the NBA star, but the colonial printer and founder of the Massachusetts Spy, whose office became known by the British as the Sedition Foundry.  He snuck his presses out of Boston on the eve of war, helped Paul Revere spread the news of the British march, and shared first-hand accounts of the Battles of Concord and Lexington.  Later, he would spread his business empire across multiple states, and become a historian, founding the American Antiquarian Society in Worcester, Massachusetts.  Listen to his story! Show notes: http://HUBhistory.com/026

In this episode, Ezra Greenspan discusses the research and writing of his latest book on Frederick Douglass's family; his work as editor of Book History, the annual journal from SHARP (Society for the History of Authorship, Reading, and Publishing); and his lifelong relationship with the printed word. Ezra is the Edmund J. and Louise W. Kahn Chair in Humanities at Southern Methodist University in Dallas, Texas, a member of the American Antiquarian Society, and an AAS-National Endowment for the Humanities Fellow for the 2016-17 academic year.

Last year on Past is Present we featured a series of interviews with American Antiquarian Society fellows in order to showcase their thoughts about writing history and work with the Society’s collections. This year we’ve decided that, instead of transcribing those interviews, we will make them available as podcasts. This will let our readers (and […]

This week at In The Past Lane, we take a new look at a familiar event - the American Revolution. Think you know this key chapter in American history? Think again. For as our special guest, historian Alan Taylor, argues in his new book, American Revolutions: A Continental History, 1750-1804, the American Revolution was also a civil war. And it had an impact far beyond the 13 colonies along the Atlantic coast. We also talk to Jim Moran, Director of Outreach at the American Antiquarian Society in Worcester, MA, about a little-known but important chapter in the story of American independence.

Lecture 106 (10 November 1982). Full title "The American Antiquarian Society: Independent Research Libraries, Present and Future"

Georgia Barnhill, Andrew W. Mellon Curator of Graphic Arts at the American Antiquarian Society, discusses the methods, meanings, and uses of various types of printed Civil War ephemera, and how they were used to document, memorialize and shape public opinion about the war on the home front. This talk took place on July 17, 2012, as part of The Visual Culture of the American Civil War, an NEH Summer Institute for College and University Teachers.

508 is a show about Worcester. This week’s guest is Jim Kersten. This week’s show was taped on a raft floating in Worcester’s Indian Lake. We talk about blue-green algae in the lake, the search for a new head librarian, the American Antiquarian Society and Wormtown Brewery winning national awards, and openings on Worcester’s municipal … Continue reading "508 #247: Indian Lake"

A former National Endowment for the Arts Fellow, Brian Teare is the recipient of poetry fellowships from the MacDowell Colony, the Headlands Center for the Arts, and the American Antiquarian Society. He is the author of four books—The Room Where I Was Born, Sight Map, the Lambda Award-winning Pleasure, and Companion Grasses, one of Slate's 10 best poetry books of 2013. An Assistant Professor at Temple University, he lives in Philadelphia, where he makes books by hand for his micropress, Albion Books.Joshua Weiner is the author of three books of poetry, most recently, The Figure of a Man Being Swallowed by a Fish (Chicago, 2013).  He is also the editor of At the Barriers: On the Poetry of Thom Gunn, and the poetry editor at Tikkun magazine.  He is the recipient of a Whiting Writers’ Award, the Rome Prize from the American Academy of Arts and Letters, and a 2014 fellowship from the Guggenheim Foundation, among others.  He teaches on the faculty of the MFA Program at the University of Maryland and lives with his family in Washington, D.C.Read poems by Brian Teare.Read poems by Joshua Weiner.Recorded On: Wednesday, March 12, 2014

508 is a show about Worcester. This week’s panel is Nicole Apostola, Chris Robarge, and Tracy Novick. [display_podcast] Audio: Download the mp3 or see more formats. Contact Info We talk about the reopening of Stone Soup, Worcester Magazine’s story on the American Antiquarian Society, the hunt for a new City Manager, and how to explain … Continue reading "508 #237: The City Manager Hunt"

This from the Yale University Library website: "William Reese '77 is an antiquarian bookseller living in New Haven, CT. His firm, William Reese Company, founded in 1975 when he was a sophomore, is one of the leading rare book dealers in the world, specializing in Americana, travels and voyages, and literature.  He has been active with the Yale Library for many years, funding a number of fellowships in the Beinecke Library. Bill served on the committee to raise funds for the Irving S. Gilmore Music Library and contributed, with his family, the Jackson Family Rare Book Room there, named in honor of his grandfather, John Day Jackson, Class of 1890, who gave Yale its first music library. Bill has also given Yale major collections of 20th-century writers such as Robert Graves and Siegfried Sassoon, as well as books and manuscripts ranging from 18th-century Louisiana to the diary of an interned Japanese-American in World War II.  He has also curated four major exhibitions in the Beinecke Library, including their Columbian Quincentenary exhibition in 1992, and the show honoring Paul Mellon's bequest to the Beinecke Library in 2002, both commemorated with published catalogs. He has also funded Beinecke publications such as the recently published Alfred Stieglitz–Georgia O'Keefe correspondence, funded cataloguing initiatives in the Map Collection, and underwritten Yale staff members attending the Rare Book School.  Bill has also served on the committee to award the undergraduate book- collecting prize for thirty years.  Bill has worked with many book libraries throughout the country on issues of collection development, security, and fund-raising.  He serves on the Council of the American Antiquarian Society and the board of the Library of America."