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What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

This week kicks off a two part episode spectacular about women in STEM. Join me to learn about Elizabeth Blackwell who was admitted to medical school as a practical joke and went on to graduate first in her class, becoming the first woman to earn a medical degree in the United States. Nettie Stevens discovered X and Y chromosomes and got none of the credit. Lise Meitner helped discover nuclear fission. Florence Siebert developed the tuberculosis test that is still used today. Cecilia Payne discovered what stars are made of. And Grace Hopper made computers accessible to the masses all while serving as the oldest ever officer in the US armed forces. Prepare to be amazed! Support the show! Join the Patreon (patreon.com/historyfixpodcast)Buy some merchBuy Me a CoffeeVenmo @Shea-LaFountaineSources: The College of Scholastica "12 historical women in STEM you've probably never heard of"National Women's History Museum "Elizabeth Blackwell"Wikipedia "Elizabeth Blackwell"National Women's History Museum "Nettie Stevens"US Women in Nuclear "Women in Nuclear History: Lise Meitner"The National Museum of Nuclear Science & History "Lise Meitner"The Royal Society "Florence Siebert: From polio survivor to medical pioneer"American Museum of Natural History "Cecilia Payne and the Composition of Stars"Yale University "Biography of Grace Murray Hopper"Shoot me a message! Support the show

Story of the Week (DR):WarSaudi Aramco CEO issues stark warning: Iran war could bring ‘catastrophic' shock to global oilPrediction markets face questions on Iran war bets, from regime change to nuclear detonationThe Maduro Capture (Jan 2026): Just hours before the U.S. captured Venezuelan President Nicolás Maduro, a new Polymarket account wagered $30,000 on his removalIsraeli Military Indictments (Feb 2026): At least two individuals in the Israeli defense forces were reportedly indicted for using classified intelligence to place winning bets on the specific dates of military strikes in IranNational Security Risk: A recent report by Responsible Statecraft warns that officials with the power to influence military timing could alter operations to maximize their payout The Atlantic Council recently warned that foreign adversaries can "weaponize the odds" by dumping money into a thinly traded market to create a false narrative that a country is about to collapse, potentially triggering a real-world panic or bank run.Kalshi (private)1/13/25: Kalshi names Donald Trump Jr. as strategic advisorPolymarket (college dropout Shayne Coplan)8/26/25: Kalshi Advisor Donald Trump Jr. Joins Rival Polymarket BoardTrump Jr.'s 1789 Capital is making an eight-figure investment in the controversial prediction-market company.AI JobsAnthropic just mapped out which jobs AI could potentially replace. A ‘Great Recession for white-collar workers' is absolutely possibleThe most AI-exposed group is 16 percentage points more likely to be female, earns 47% more on average, and is nearly four times as likely to hold a graduate degree compared to the least exposed group.Sam Altman admits AI is killing the labor-capital balance—and says nobody knows what to do about itOracle expected to slash thousands of jobs as massive AI spending creates financial cash crisisLayoffs are feeling awfully tempting for a lot of companies right nowCEOs are using one number in the AI age to decide how many people they still needRevenue per employeePatreon's CEO says AI will be a 'bloodbath for the world's creative people' unless tech companies pay upAtlassian slashes 10% of workforce to 'self-fund' investments in AI and enterprise salesThe unexpected 92,000 drop in payrolls is a clue we might be reading the AI jobs narrative all wrongWorker painAI Is Forcing Employees to Work Harder Than EverAI Job Loss Is Breaking the Psyche of Workers, Psychiatrist Warns‘AI brain fry' is real — and it's making workers more exhausted, not more productive, new study findsEconomist Dambisa Moyo says CEOs must play a role in sustaining the consumer class as AI eliminates jobsThis could only happen if we weren't controlled by the TechBro Dropout GangCII‘Not a goodbye…': What Adobe CEO Shantanu Narayen told employees after announcing decision to step downShantanu Narayen, CEO of Adobe for 18 years, will step down once a successor is appointed, while continuing as board chairman.Google Hands Sundar Pichai $692M Package Tied to AI BetsPackage uniquely ties executive pay to Waymo autonomous vehicle and Wing drone delivery venture performanceCompensation structure sets precedent for linking CEO pay to specific AI business unit success rather than overall company metricsSo now CEOs can either game their bonus by obsessively focusing on one thing or doom the rest of the company by obsessively focusing on one thing or bothAs You Sow Files Lawsuit Challenging Chubb's Refusal to Put Shareholder Proposal Addressing Climate-Driven Insurance Crisis on Company ProxyThe proposal asks shareholders to vote on whether Chubb should commission a report assessing whether pursuing subrogation claims against parties responsible for climate change could reduce losses, benefit shareholders, and help preserve affordable homeowners insurance.This lawsuit follows the SEC's decision to abandon its longstanding role as a neutral arbiter in the shareholder proposal process. In November 2025, the SEC announced that it would no longer review corporate no-action requests under Rule 14a-8, effectively forcing these matters into court—an expensive and lengthy process.Sen. Elizabeth Warren Slams SEC As 'Lap Dog For Trump's Billionaire Buddies' After It Dismisses Another Crypto Case"The SEC should not be a lap dog for Trump's billionaire buddies"Live Nation, Ticketmaster's Owner, Settles Antitrust Case With Justice DeptThat was fastLive Nation Entertainment board includes Trump administration bro Richard Grenell 2 of 12 are womenGrenell is somehow the president of the Kennedy Center for the Performing Arts despite no background in anything resembling “the Arts.”He replaced a woman, Deborah Rutter. The chair is President Trump. Of course. And the board now is down to only one woman: 2 years ago it was 60% female.Glass Lewis recommends voting against Starbucks director over ‘board-level E&S oversight'New York State Comptroller, New York City Comptroller, SOC Investment Group, Canadian responsible investment association SHARE, Merseyside Pension Fund, and Trillium oppose the re-election of lead independent director Jørgen Vig Knudstorp, as well as Beth Ford, chair of Starbucks' Nominating and Corporate Governance (NCG) committee.Ford was chair of the EPCI committee and now leads the NCG committee, which assumed some of the responsibilities of the EPCI when it was disbanded.In its benchmark policy proxy paper, Glass Lewis has recommended investors vote against Ford.Goodliest of the Week (MM/DR):DR:Uber rolls out women-only option in the USDR: CEOs of failed banks would have to surrender pay under bipartisan planSenate legislation would mandate “clawbacks” of executive pay, three years after the collapse of Silicon Valley Bank.MM: 24 states, Nintendo sue Trump over tariffs as refund fight growsCostco CEO Ron Vachris Pledges to Return Tariff Refunds to ShoppersMM: Andrew Yang says we should stop taxing workers — and start taxing AIAssholiest of the Week (MM):War on Women: part 1Alex KarpPalantir CEO Makes Shocking Confession on Disrupting Democratic PowerPalantir CEO Alex Karp thinks his AI technology will lessen the power of “highly educated, often female voters, who vote mostly Democrat” while increasing the power of working-class men.“This technology disrupts humanities-trained—largely Democratic—voters, and makes their economic power less. And increases the economic power of vocationally trained, working-class, often male, working-class voters,” Karp said in a CNBC interview Thursday. “And so these disruptions are gonna disrupt every aspect of our society. And to make this work, we have to come to an agreement of what it is we're going to do with the technology; how are we gonna explain to people who are likely gonna have less good, and less interesting jobs.”To Alexandra Schiff, ex WSJ reporter and daughter of Tom Wolfe, who wrote a semi adoring Silicon Valley book in 2017 holding Peter Thiel as a god (and now sits on this board with Thiel), and to Lauren Friedman Stat, who only seems to post Palantir sizzle reels and as best I can tell is married to a “David Stat” who is the name of a “Director” (not on the board?) of Palantir who is in a Form 4 for selling stock:What the fuck are you doing. Do you read what this dude says? Are you that cucked to the tech bro elite you can't stop and say, “Hey, Alex, maybe tone down the suggestion you're trying to stop female Democrats from voting?”War on Women: part 2Glass Lewis recommends voting against Starbucks director over ‘board-level E&S oversight'Because Starbucks disbanded the Environmental, Partner and Community Impact committee of the board - launched in 2023, dissolved in November 2025Committee launched after majority supported SHP to focus on labor issuesJorgen Knudstorp and Daniel Servitje, the OTHER committee members, somehow escape entirelyKnudstorp is the Lead independent director, Niccol is the CEO and chair of the board (yes, chair)But instead of targeting Niccol or even Knudstorp, Glass Lewis targeted the female chair of the committee… ONLYIf the CEO gets to be chair - doesn't the CEO have to take responsibility for board overall? If you have an LID, are they accountable?? Why would the chair of a committee be target without the chair of the board or LID? Can a committee chair dissolve their own committee??Cracker Barrel - the scapegoat was the person of color who had “diversity” in their job description, not the longest tenured director who was also chair of the board but was a white guy - and Glass Lewis suggested voting out the brown dudeWar on Women: part 3 speed roundDOGE, DEI, and climate changeBlack women were disproportionately impacted by DOGE cuts. A year later, they're rebuilding careers for themselves and each otherI Watched 6 Hours of DOGE Bro Testimony. Here's What They Had to Say For ThemselvesOver the course of a six hour long or so deposition, Justin Fox, a former investment banker turned DOGE bro, refused to define what he believes counts as DEI; admitted he used ChatGPT to scan government contracts for terms such as “Black” and “homosexual” but not “white” or “caucasian;” and said that one of the grants he helped slash was “not for the benefit of humankind” before walking that claim back.Why ‘bringing your whole self to work' is a trap, especially for womenFormer Goldman Sachs CEO says DEI programs are ‘counterproductive,' arguing ‘you're branding the people in that program'Climate change: Women face worst impacts as funding support falls shortIn 2025, a UN women report warned that under a worst-case climate scenario, up to 158.3 million more women and girls may live in extreme poverty globally as a result of climate change by 2050Headliniest of the WeekDR: Shell CEO's Pay Jumps 60% Despite Profit Drop and Fatal AccidentsDR: Jack Dorsey Defends Wearing “Love” Hat While Firing 4,000 Employees in Pivot to AI: "I wanted to approach the whole situation with love."MM: Ozempic mania has even Olive Garden and The Cheesecake Factory cutting back on portion sizesMM: Cracker Barrel sales, traffic continue to slump months after failed rebrandWho Won the Week?DR: National Museum of the American Indian and the coffee at CII, was actually pretty not grossMM: The Council for Institutional Investors Spring Conference, who got to witness Proxy Countdown livePredictionsDR: CII loses our phone numberMM: The women start the uprising now:

In 1965 Margaret Crane was a young designer creating packaging for a pharmaceutical company when a scientist gave her a tour of the lab. Looking at the long rows of pregnancy tests she thought, well anyone could do that test at home! So she set about designing a prototype for America's first home pregnancy test. While the design of the prototype was simple, convincing the company, the medical community and conservative social leaders that at-home pregnancy testing was safe and necessary was an uphill climb for Crane, who is only now receiving credit for her contributions to the industry. This show first aired in February 2024. Featuring: Margaret Crane - Graphic designer and inventor of the first home pregnancy test Wendy Kline - Dema G. Seelye Chair in the History of Medicine, History Faculty Purdue University Jesse Olszynko-Gryn - Head of the [Laboratory for Oral History and Experimental Media](https://www.mpiwg-berlin.mpg.de/research/projects/laboratory-oral-history-and-experimental-media) at Max Planck Institute for the History of Science  Arthur Kover - Emeritus Professor of Marketing, Fordham University Alexandra Lord - Chair, Division of Medicine and Science at the National Museum of American History Making Contact Staff: Host: Amy Gastelum Guest Producer: Anne Noyes Saini  Producers: Anita Johnson, Salima Hamirani, Amy Gastelum, and Lucy Kang Executive Director: Jina Chung Editor: Adwoa Gyimah-Brempong Engineer: Jeff Emtman  Digital Media Marketing: Lissa Deonorain Music:  Podington Bear, Rhythm and Strings  Learn More: National Museum of American History https://americanhistory.si.edu/collections/nmah_1803285 A Woman's Right to Know, Pregnancy Testing in 20th Century Britain - https://mitpress.mit.edu/9780262544399/a-womans-right-to-know/ Predictor, by Jennifer Blackmer https://newplayexchange.org/plays/348156/predictor Making Contact is an award-winning, nationally syndicated radio show and podcast featuring narrative storytelling and thought-provoking interviews. We cover the most urgent issues of our time and the people on the ground building a more just world.

In this episode of Gangland Wire, I sit down with retired FBI agent Geoff Kelly, a specialist in art theft investigations who inherited one of the most notorious unsolved cases in American history—the 1990 robbery at the Isabella Stewart Gardner Museum. He recently wrote a book about this theft titled 13 Perfect Fugitives: The True Story of Mob, Murder, and the World’s Largest Art Heist. Kelly's law enforcement career began as a New York City transit police officer before transitioning to the FBI. Like many agents, he initially sought violent crime work. Instead, he was assigned to economic crimes before eventually transferring to a violent crime squad. It was there that he encountered the Gardner case—a cold case largely untouched by senior agents at the time. The robbery itself remains extraordinary: two men posing as police officers gained entry to the museum and stole 13 works of art, including masterpieces by Rembrandt. More than three decades later, none of the works have been recovered. Inside the Gardner Heist Geoff explains how art theft is often misunderstood. Popular culture portrays refined, sophisticated criminals orchestrating elaborate capers. The reality, he says, is usually more opportunistic and frequently violent. Art theft often intersects with organized crime, drug trafficking, and even homicide. Massachusetts has a documented history of art-related crimes, and several individuals connected to the Gardner investigation met violent ends. The criminal underworld surrounding stolen art is less about wealthy collectors hiding paintings in private vaults and more about leverage—using artwork as collateral in criminal negotiations. The FBI's Art Crime Evolution Following the 2003 looting of Iraq's National Museum during the Baghdad invasion, the FBI formalized its Art Crime Team. Kelly discusses how intelligence gathering, informants, and international cooperation became central tools in recovering stolen artifacts. He emphasizes that solving art crimes often depends less on forensic breakthroughs and more on human intelligence. Informants remain essential, especially in cases where organized crime overlaps with high-value theft. Kelly also discusses his upcoming book, 13 Perfect Fugitives, which explores the intersections of mobsters, murder, and the illicit art market. Organized Crime and the Reality of Stolen Art Drawing on my own experience working organized crime in Kansas City, I found clear parallels between traditional mob rackets and art theft networks. The same structures—intimidation, secrecy, and violence—apply. Once a painting disappears into criminal circulation, it becomes a liability as much as an asset. Kelly challenges the myth that thieves profit easily from masterpieces. High-profile works are difficult to sell. The black-market art world is volatile and dangerous. In many cases, the artwork becomes bargaining collateral rather than a cash windfall. A Case Still Waiting for Closure More than 30 years later, the Gardner Museum still displays empty frames where the paintings once hung. Kelly remains committed to the idea that public awareness may eventually generate new leads.  The Gardner heist stands as both a cultural tragedy and a criminal mystery—one that continues to intersect with organized crime, violence, and international intrigue. Hit me up on Venmo for a cup of coffee or a shot and a beer @ganglandwire Click here to “buy me a cup of coffee” Subscribe to the website for weekly notifications about updates and other Mob information. To go to the store or make a donation or rent Ballot Theft: Burglary, Murder, Coverup, click here To rent ‘Brothers against Brothers’ or ‘Gangland Wire,’ the documentaries click here.  To purchase one of my books, click here. Transcript [0:00] Hey, you guys, Gary Jenkins back here in studio Gangland Wire. Y’all know me. I’m a retired Kansas City Police Intelligence Unit detective and now podcaster and documentary filmmaker. I have in the studio today… Jeff Kelly, he’s a now-retired FBI agent. He was an expert in recovering stolen artifacts and art pieces. He was involved. He wasn’t involved in the original theft of the Boston art theft, the Isabella Stewart Gardner Museum, but he ended up inheriting that case. So welcome, Jeff. Hi. Thanks, Gary. Nice to be here. And guys, I need to mention this right off the bat. Jeff has a book, 13 Perfect Fugitives, The True Story of the Mob, Murder, and the World’s Largest Art Heist. Be out on Amazon. I’ll have links down below in the show notes if you want to get that book. I think it would be pretty interesting. I was telling Jeff, I just interviewed Joe Ford, the million-dollar detective, the guy that goes after classic cars, and I read that book. I love these kind of caper kind of books and caper crimes. Those are the ones I like the best is the caper crimes. And Jeff is an expert at working caper crimes. And that’s what these are, capers. So Jeff, how did you get into this? Now you came on the FBI. You were a policeman before, I believe. So tell the guys a little bit about yourself and your FBI career. Yeah, I started out with the Metropolitan Transportation Authority Police in New York City. It was a transit cop. I did that for three years. And then I got into the FBI in October of 95. [1:30] And my goal was always, I wanted to work violent crime. That’s what drew me to law enforcement in the first place, working bank robberies and kidnappings and fugitives. I had to do my five years on working economic crime, telemarketing fraud. It was interesting, but not all that exciting. And finally in 2000, I got my transfer to the violent crime squad. And I loved working it. And I did it for my entire career from then on, right up until my retirement in 2024. But back then, art theft was considered a major theft violation, [2:01] and it was worked by the Violent Crime Squad. And so in 2002… My supervisor dumped this old moribund cold case in my lap. It was the Isabella Stewart Gardner Museum heist. [2:15] Nobody wanted it on the squad, so they figured, let’s give it to the new guy. I was ecstatic to get it because I’d heard about it. I went to school in Boston. I went to Boston University and graduated the year before it happened, but I knew about it. [2:28] That’s how I started working this case, this particular case, and then the following year during the U.S., there was a, the U.S. And coalition forces invaded Baghdad in Iraq. And during a 36-hour period, more than 15,000 objects of very, very important cultural history were looted from the National Museum of Iraq. And it’s really one of the most important museums in the world in terms of our shared history. Kind of the cradle of civilization over there in the Tigers and Euphrates River. Yeah, and that was the time when the FBI kind of belatedly realized that there was no art crime team to investigate this. And of course, FBI agents have been working art theft like any other property crime since the beginning of the FBI’s existence, but there was no codified team. So they did a canvas for the team in 2004 and I applied for it because at this point I’d been working the Gardner case for a couple of years and really was fascinated by it and made the team. And so then over the next 20 years, we continued to expand the team both in size and in scope and in our intelligence base and knowledge base. And when I left the Bureau in 2024, it was and still is a tremendous team with a lot of very dedicated and professional agents and professional support. [3:51] Now, guys, if you don’t know about the Isabella Stewart Gardner case, there was a Netflix documentary on it a few years ago. It was an art museum in Boston. [4:01] Two guys showed up. They had Boston police uniforms on, and they got in. They basically, it was an armed robbery, and they took control of the museum. The guards were in there late at night and took these really valuable paintings out. I believe you told me earlier they were Remington paintings. We’ll get into that. And it was a violent crime. It was an armed robbery of paintings, and you told me about other armed robberies of paintings. I think you got into some other armed robberies of paintings. You always think of, as you mentioned before, the Thomas Crown Affair character that goes out and does these sophisticated art thefts. That’s not always true, is it? It’s never that way, but it doesn’t matter. Don’t let the facts get in the way of a good story. Everybody wants to believe that art thefts are pulled off by the Thomas Crown Affairs and these gentlemen thieves repel in through skylights and do all that fancy stuff, put it in their underground lair. That’s just not the way it works. But if you look to art theft. [4:55] Massachusetts really is a cradle of art theft in this country, and it’s very unique. The first armed robbery of a museum occurred in Boston in 1972. It was committed by a guy named Al Monday, who was a prolific art thief. And they stole four pieces from the Worcester Art Museum in central Massachusetts with a gun. They ended up shooting the guard. And one of the pieces that they stole was a Rembrandt called St. Bartholomew. [5:26] And in keeping with the milieu of true art thieves, the paintings were stored on a pig farm just over the state line in Rhode Island. And when this Connecticut safecracker by the name of Chucky Carlo, who was looking at some serious time in prison for some of the crimes that he committed, when he found out that Al Monday had these paintings, he just simply kidnapped Al Monday and stuck a gun in his ribs and said he would kill him if he didn’t give him the paintings. which is no honor among thieves. And Al turned over the paintings, Chucky returned them, and he got a very significant break on his pending jail sentence. Right here in 1972, Boston thieves see Rembrandt as a valuable get-out-of-jail-free card. [6:09] And then if we jump forward three years to 1975, there was a very skilled art thief, really a master thief by the name of Miles Conner. I interviewed Miles for my book. It was very gracious of him to sit down with me for it. And he had robbed or committed a burglary of the Woolworth estate up in Maine, the family, the five and dime family magnets. And he got caught for it because he tried to sell those paintings to an undercover FBI agent. And so he was looking at 12 years in prison for it. And he was out on bail. And he reached out to a family friend who was a state trooper. And he asked him, how can I get away with this one? How can I get out of this? Because he was in serious trouble. The trooper’s response was meant to be hyperbolic. The trooper said, Miles, it’s going to take you a Rembrandt to get out of this one. [6:57] And so Miles said, okay, I’ll go get a Rembrandt. And he got a crew together and they did a daylight smash and grab at the Museum of Fine Arts in Boston, just across the street from the Gardner. And they stole Rembrandt, the girl in a gold-trimmed cloak. [7:12] And he was able to return that painting. Instead of doing 12 years, he did 28 months. And he even managed to, he told me he even managed to get the $10,000 reward in the process. So you have this atmosphere in Massachusetts that Rembrandts are a valuable commodity, right? They can help you out in a jam. And so I think it’s no coincidence that in 1990, when the Gardner Museum heist came down, the Gardner Museum had this array of motion sensors all throughout the museum. It would alert to wherever you went, every gallery, hallway, whatever. [7:49] And we know from these motion sensors that after, as you said, the two guys went in disguised as cops and bluffed their way into the museum, they made a beeline for the Dutch room, which is the room of all things Rembrandt. They stole three Rembrandts. They stole a fourth piece called Landscape with an Obelisk, which was actually by Govard Flink, but it had been misattributed to Rembrandt until the mid 80s. And then they took a large Rembrandt oil-on-panel off the wall and it was recovered the next morning leaning against a piece of furniture. We believe they just overlooked it in the dark. So out of the 13 pieces taken, three were Rembrandt, a fourth was misattributed to Rembrandt, and there was going to be a 14th piece taken, which was also Rembrandt. It definitely falls into that theory that this was going to be a hold-on to these pieces for a while and see if you can use them for a break. [8:48] Interesting. Now, back in the 70s, for example, when somebody would work in an art robbery like that or an art theft, you got your tried and true ways of working a crime. You got to have sources, you got to have witnesses, and hopefully you can get a crime like this. You can get a source that says, hey, this guy, we had a guy in Kansas City that he was a fence for these kinds of guys. He had an antique auction and he took all this stuff and got it somewhere else. So at the time, just use your regular police methods. And what changed over the years as you’ve done this? Yeah, certainly we’ve become much more sophisticated with the techniques that we use. But at the end of the day, it’s always still going to be intelligence. But I found from working my entire career in violent crime, virtually my whole career in violent crime, the sources are crucial. Having a good informant can make and break a case. And working art theft investigations, you’re certainly going to have the same types of fences of informants, fences for stolen property and what they’re hearing about what organized crime guys are doing and what drug guys are doing. But it also opened up a whole new avenue of sources for me as working in art investigations, because now you’ve got pawn shops and gallery owners and auction houses, and they’re in a position to know when not only when stolen artwork is coming in, but also fakes and forgeries. We spoke about this, that. [10:16] Somebody comes in with one valuable piece that would be very difficult for somebody in his or her position to come across one piece like this, let alone a dozen of them. That really points to probably a fake. And so that’s really the key to solving these things is just having a good intelligence base who’s going to let us know about when something comes up that’s either stolen or it’s been forged. [10:43] Brings up a question. In my mind, did you ever work a gallery owner or a gallery [10:48] that then would filter in, knowingly filter in some fakes every once in a while? They couldn’t do it 100% of the time, but you could certainly make some extra money by filtering fakes out of it because many people would get it and they’d never know. Nobody would ever know. Listen, it is a really difficult thing when you’re working these types of crimes because unlike bank robber, you go into a bank and you stick them up with a gun and take them on. It’s not up to the government to be able to prove at trial that you knew that the bank was insured by the FDIC. You went in and you robbed it, you committed the offense. When you’re talking about interstate transportation of stolen property or possession of stolen property, there are what’s called specific intent crimes, meaning you have to prove the element of knowledge. You have to be able to prove that the person knew that that item was stolen. Not that it said it was stolen. and you had to show that they knew it. And that’s a really high hurdle to overcome. And typically what we do to try and prove that specific intent is we’re going to go through. [11:53] Recorded statements made to a source or to an undercover or emails or texts or something that we can show that this person knew that item was stolen. And so we would see that a lot in auction houses and galleries. There’s a lot of willful blindness where a lot of gallery owners and auction houses, they’re going to look the other way because it’s too lucrative to pass up. And in fact, in 2015, the art crime team, once we received information that ISIL or ISIS was using looted cultural property from Syria and Iraq as a form, a viable form of terrorism financing. And we put auction houses and gallery owners on notice in 2015, and we basically told them that if you’re selling objects of cultural patrimony or cultural heritage with a dubious provenance, like a wink and a nod, you may be unwittingly or wittingly funding terrorism. While we never charged anybody with it, hopefully it was an eye-opener that when you’re getting into this world, it’s not a victimless crime. There are very real victims involved. [13:07] And that’s one of the things that really is interesting about working our crime investigations. And I used to get ribbed by my friends who were not on the art crime team about [13:18] where like the wine and cheese squad were raised and everything. But our subjects are far from it. We’re dealing with organized crime, gangs, terrorists. This is no joke. These are serious individuals and the stakes are high. And in the Gardner case, three or four people that we believe were involved in the heist were murdered a year after the Gardner case crime occurred. Yeah, I was just going to go back to that a little bit, as we said before, a little bit like the Lufthansa case. All of a sudden, everybody that was involved in the theft. Started dropping like flies. So tell the guys about that. That is really interesting. [14:00] Yeah. So the two individuals that we believe went into the museum dressed as cops, just a week shy of the one-year anniversary, one of the guys was found dead in his apartment of an acute overdose of cocaine, intravenous. And his family admitted that he used Coke, but they said he was terrified of needles. He was scared of needles. So it really looked to be like a hotshot, an intentional overdose of cocaine. Two weeks later, the other guy who we believe went into the museum with him, his wife reported him missing. And a couple of weeks later, his bullet riddled body was recovered in the trunk of his car out by Logan Airport in East Boston. There was another member of that crew. These were all part of the same crew. This Carmelo Merlino, who was a Boston mobster, had an auto shop down in the Dorchester section of Boston. Another member of his crew, a guy named Bobby, six weeks after the heist, he brought in, he visited a jeweler in the downtown crossing jewelry district in Boston. He came in with this object and he unwrapped it. It was an eagle. [15:03] It was the finial from the Napoleonic flag that was stolen in the Gardner heist. And he asked the jeweler, how much is this thing worth? And the jeweler looked at it and he said, it’s worth nothing. Because he immediately recognized it as one of the people that had been stolen six weeks earlier from the Gardner heist. And then a few months later, Bobby was stabbed to death and nearly decapitated on the front porch of his house. And the responding police saw that his house had been broken into and ransacked like his killers had been looking for something. There was a fourth guy, Jimmy, who bragged to his girlfriend a few months after the heist that he had a couple of pieces from the Gardner Museum hidden in his attic. [15:47] And in February of 1990, 11 months after the heist, he was executed on his front porch in what the local police called a mob hit. So, yeah, these are the types of crimes that have a tendency to have a chilling effect on anybody who harbors any aspirations to come forward with information. Yeah, and we talked earlier a little bit about, like, the crime itself, and the statute of limitations is up on that, what you said, and the crime itself, but how we talked a little bit and explained to them about how this could be part of a RICO case. And you’ve got the murders and you’ve got the actual theft and whatever they did with the paintings, then maybe you could get over after a Bob boss as a Rico case. Tell the guys a little bit about doing that. Yeah. [16:32] I’ve heard it so many times in more than two decades that I worked the case and people would say, geez, why don’t people come forward? They’re just paintings. There are so many times they’re just paintings. They’re like, yeah, they are, but there’s two things about that. Number one, there’s some dead bodies on these paintings, three or four, and that there’s no statute of limitations for murder. And so if you implicate yourself in the theft or you implicate yourself in possessing or transporting these paintings at any time, the fear is that you’re then implicating yourself in a homicide. And the other aspect of this, which I think has a chilling effect, is the fact that transportation of stolen property is one of the predicate acts for RICO, racketeering influence corrupt organization case. And RICO is basically, Gary, is basically an entire organization is corrupt. Yeah. There’s no legitimate purpose. It’s what we think about the mob and the [17:27] FBI has taken down the mob in the past. So if you implicate yourself in stolen property and you’re part of organized crime, that’s one of the predicate acts for a RICO. And that’s basically life sentences. And so one of my goals in the years and years that I worked in this case was to try and convince people that you could come forward with information and the U S attorney’s offices, whether it’s up in Boston or new Haven or Philadelphia. [17:58] Would be willing to figure out a way to get the paintings back with immunity from prosecution for a RICO case. Look, that’s a high hurdle. That’s a high hurdle to convince somebody that if you come forward, you’re not going to get charged and you’re eligible for millions of dollars in reward. That’s a tough bill to swallow, but it’s the truth. I’m retired from the FBI now. I can tell you that it was, it’s a, it was, and still is a bona fide offer. And that’s one of the goals that I’ve always tried to impress on anyone is the opportunity to become a millionaire without going to jail. There you go, Jeff. Can you, now you’re not with the Bureau anymore. Can you go out, if you could go out and find them and bring them in, could you collect that reward? I would certainly hope so. [18:48] I can’t tell you how many of my friends thought that I had some of these paintings stashed in my basement. Waiting for retirement to go turn them in the next day. I think half the guys I worked with were expecting to see me pull into the parking lot of the FBI. [19:01] Big package, but no. But yeah, I suppose I could. By this point, I can tell you the amount of my very being that I put into this case over two days. Yeah. I just would love to see these paintings go back just because they need to be back at the museum. That’s where they belong. Now, these crimes, they seem, You said there’s a lot of murders attached to this. They seem a little boring. Did you have any exciting moments trying to pop anybody or do any surveillances? I know we did a big surveillance of a bunch of junkies that were going around stealing from small museums around the Midwest. And we follow them here in Kansas City. And they would have been pretty exciting had we had a confrontation with them. Did you have any exciting moments in this? It actually was a fascinating case. And for the first, there’s the really boring aspects of this job and tedious aspects. And I would say that in my, two decades working this case, I probably did, I don’t know, 50, 60, 70 consent searches, searching in attics and basements and crawling through crawl spaces and just getting sweaty and covered in cobwebs. But the break in the case for me came in 2009 when one of the guys who was part of Merlino’s crew who was deceased, his niece came forward to me and told me that the paintings. Some of them had been hidden up in this guy’s hide at his house up in Maine. I went up to Maine with Anthony Amore, who’s the director of security for the Gardner Museum. We worked on this case together for years. [20:29] And then we found that hide. And then we interviewed, right from there, we went and interviewed Guarenti. That’s the guy, Bobby Guarenti. We interviewed his widow and she broke down and admitted that he once showed her the paintings and she gave them to a guy down in Connecticut. And we identified that guy and we interviewed him. My name is Bobby Gentile. He’s a made member of the Philly Mob. He got straightened out with his crew back in the late 90s. [20:54] And he refused to cooperate. And then that’s where we really just started getting, using a lot of ingenuity to try and break it. And an agent down in the New Haven office, a guy by the name of Jamie Lawton, he joined our team and we started working this case. And he had a source who knew Gentile, Bobby Gentile, and the source started buying drugs from Gentile. Ah, there we go. We ended up arresting Gentile and we did a search warrant at his house. And it was crazy. Like we recovered, I want to say seven handguns, loaded handguns lying all over the place. He had a pump action shotgun hanging by the front door. He had high explosives. We had to evacuate the house and call him the bomb squad. But the interesting thing was he had the March 19th, 1990 edition of the Boston Herald with headlines about the Gardner heist and tucked inside that newspaper was a handwritten list of all the stolen items. With what looked like their black market values. This is in the house of a guy who swore up and down that he’d never heard of the Gardner Museum. And we were able to figure out who wrote the list. It was written by none other than Al Monday, who’s the guy that did the first armed robbery of a museum, of a Rembrandt. And we interviewed him and he told us that he wrote that list for Bobby Gentile and his buddy up in Maine, Bobby Garanti, because they had a buyer for the paintings and they wanted to know what they were worth. [22:24] So yeah, and then Gentile took 30 months. [22:28] He wouldn’t cooperate. And while he was incarcerated, we turned two of his closest friends to becoming sources. And so when he got out of prison in February or April of 2014, they started talking to him and talked about the gardener and they said they might know somebody who’d want to buy him. That’s how we then introduced an undercover agent. Gentile was introduced to Tony, this undercover FBI agent. Over six months, they had long talks about selling the paintings. Unfortunately, before Gentile would sell the paintings, he wanted to do a drug deal first, which we couldn’t allow to happen. We can’t let drugs walk on the street. So we had to take it down. And although we’d seized all these guns from Gentile back in 2012, he told the sources the FBI didn’t get all of his guns. Because of that disturbing comment, one of the sources asked Gentile if he could buy a gun for him. And Gentile sold him a loaded 38. So we arrested him again. And he still refused to cooperate. I don’t respect what he did for a living or a lot of the things that he did, but you do have to respect his adherence to his values. However, misguided they may have been, he took the code of omerta, the code of silence to heart, and he took it to his grave. He died, I think, in 2021 after going to prison a second time. [23:50] While we never got any paintings back, it was a tremendous ride, and I’m confident they will come back. It’s just going to be a question of when. Yeah, that kind of brings up the question that you hear people speculate. Did you ever run across this? Is there actually any rich old guys or an Arab sheik or somebody that buys stuff like this and then really keeps it and never shows it to anybody? Does that unicorn really exist? everybody wants that to be true i know virtually it’s not yeah there’s there’s never been a case of some wealthy what we call the doctor no theory some some reclusive billionaire with his underground lair filled with all the illicit stolen treasures of the world yeah that’s it’s never happened yeah i guess you never say never but but no look the majority statistically about three-quarters of everyone that collects art in this country does it for, and I assume it’s probably worldwide, does it for the investment potential. There’s a lot of money to be made in collecting art. It rarely, if ever, drops in value. So that’s why people collect art. If there’s somebody who has a particular piece that they want so badly that they’re going to commission its theft, it’s more the stuff of Hollywood. It could happen, but we’ve never seen that happen yet. Interesting. [25:14] We did have one case here where we had a medical doctor and he had it on the wall of his house. And it was, I believe it was a Western artist named Remington that these junkies stole out of Omaha. But it was such a minor piece that he could show it to anybody and they wouldn’t. They would say, oh, that’s cool. You got a Remington. [25:30] There’s plenty of those around. And he could afford a real deal Remington anyhow. So it wasn’t that big a deal. And that’s really what it comes down to is that art, high-end art does get stolen. It gets stolen quite often. The art market is about $60 billion, and the FBI, we estimated about $6 to $8 billion of that is illicit, whether it’s theft or fakes and forgeries. It’s a tremendous market, but it’s mostly second and third tier items. [26:02] Really valuable, well-known pieces. They do get stolen, but that’s the easy part. The easy part is stealing it. The hard part is monetizing it. That’s why you very rarely see recidivism among art thieves, high-end art thieves, because you do it once, and now you’re stuck with the thing. It’s easier to steal something else. You got to go out and boost fur coats and stuff to make a living. Exactly. Do a jewelry store robbery down there and make a living. And that’s exactly the point. That’s why you’re seeing a sea change in terms of art thefts, museum thefts. The Louvre was a great example of that. Dresden green vault robbery where 100 million euros in gems were stolen back in 2019 yeah. [26:45] Gems and jewelry, it can be broken down. It’s going to greatly diminish their value, but you can recut a gem. You can melt down the setting. You can monetize it for a greatly diminished value, but at least you can monetize it. You can’t cut up a Rembrandt into smaller pieces. [27:02] It’s only valuable as a whole complete piece. Yeah. I’m just thinking about that. We got a couple of guys, Jerry Scalise and Art Rachel in Chicago, flew to London, robbed a really valuable piece, the Lady Churchill’s diamond or something, I don’t remember, but really valuable piece and mailed it to somebody on their way to the airport and then got caught when they got back to Chicago and brought back to London and did 14 years in England and they never gave up that piece and nobody could, it never appeared anywhere, but it was just cut up and they didn’t make hardly any money off of it. Yeah. Look, there’s a, there’s much more profitable ways to. Yeah. To make an illicit living than stealing high-end artwork, but it does still get stolen. And that’s one of the cruel ironies when you’re talking about art theft is if somebody has a $20,000 piece of jewelry or a very expensive watch, they’re most likely going to lock it up in a safe in their bedroom or something. But you have a $10 million piece of artwork, you probably got it on the mantle. You’ve got it over the fireplace or in the front foyer of your house and probably doesn’t have a passive alarm system protecting it or security screws to keep it from being taken off the wall because people want to show it off. Yeah. It’s way too enticing. [28:24] Really? So, yes, you need to keep the word out there and keep this in people’s minds. And I’m sure the museum tries to do this in some ways in order, hopefully, that maybe somebody will say, oh. Yeah. [28:38] I think I saw that somewhere in this news program or on this podcast. [28:42] I’ll put some pictures on the podcast when I end up editing this. No, please do, Kerry. And that’s the thing. That’s the basis for the title of my book is it really is a fugitive investigation. And that’s how I work this case is fugitives and perfect fugitives because they’re not like their human counterparts. They’re not going to get tripped up on the silly things that we need to do as human beings, getting a driver’s license or whatnot. Yeah. [29:09] And so that’s how I worked the case. The FBI was really, I was always impressed with the FBI’s support that they gave me on this investigation. We did billboard campaigns and social media and a lot of things to get these images out there to the public, hoping it might resonate with somebody. And that’s really my goal for this book. I felt it should be written. I felt it’s an important case. Certainly, it’s something that I wanted to write about. It’s something that’s very important to me. [29:42] But it’s yet another attempt to apprehend these fugitives. And I’m hopeful that somebody, it might resonate with somebody. Somebody’s going to see something. And there’s so much disinformation and misinformation that’s out there in the media about this case. People are endlessly, all these armchair detectives, and I don’t say it in a deprecating way. Good for them. Work as hard as you can. But if you want to work this case from your armchair, great. but you should be going off accurate information because there’s a lot of bad information that’s out there on the internet. And if you want to help out, if you want to collect that $10 million reward, great, but you should be going off the most accurate factual information that’s available. Yeah. And you probably ought to go down to the deep seamy underbelly of Philadelphia or Boston or somewhere and get involved with a mob and then work your way up and make different cocaine deals and everything. And eventually you might be trusted enough that some might say, oh yeah, I’ve got those in this basement. I would suggest there’s better hobbies. [30:47] That could be hazardous to your health. I wouldn’t recommend it. Yes, it could. All right. Jeffrey Kelly, the book is 13 Perfect Tuesdays. Those are the paintings that were stolen that you’ll see on the podcast on the YouTube channel. The true story of the mob, murder, and the world’s largest art heist. Jeffrey, thanks so much for coming on to tell us about this. Thanks, Gary. Thanks for having me.

Episode 520: Insert Beatles Song Here This week host Dave Bledsoe woke up, got out of bed and dragged a comb across his head. (At roughly 3 PM because he slept off his hangover.  Again.)  On the show this week we examine the very loud phenomena of young women screaming over four British dudes, we talk about Beatlemania! Along the way Dave waxes rhapsodic over Phil Collins. (Again) Then we dive into the first singer mania to sweep America, we talk about Frankie. (Sinatra, not goes to Hollywood) Then we met up with lads from Liverpool who like American music. (The Merseybeats.  That joke never gets old.) We follow their rise from Liverpudlian obscurity, to German prominence to the biggest fucking band in the entire Universe.  (Take THAT Jesus.)  Finally we try to explain the almost inexplicable reaction that young people, primarily young women, had to The Beatles all the while not playing any actual Beatles songs. (The rights holders are QUICK with a copyright strike!)  Our Sponsor this week is A Day In the Death, the premier Black Metal Beatles cover band in Northern New Jersey.  We open the show with the Fab Four arriving in America and close with Werna Wolf saying aloha! Show Theme: Hypnostate Prelude to Common Sense The Show on Bluesky: https://bsky.app/profile/whatthehellpodcast.bsky.social The Show on Facebook: https://www.facebook.com/whatthehellpodcast/ The Show on Youtube:  https://www.youtube.com/channel/UCjxP5ywpZ-O7qu_MFkLXQUQ The Show on Instagram: https://www.instagram.com/whatthehellwereyouthinkingpod/ Our Discord Server: https://discord.gg/kHmmrjptrq Our Website: https://www.whatthehellpodcast.com Patreon:  https://www.patreon.com/Whatthehellpodcast The Show Line: 347 687 9601 Closing Music: https://youtu.be/I-Y6rUM1DgM?si=tIxn7wBMPLY-XTJh Buy Our Stuff: https://www.seltzerkings.com/shop Citations Needed: Sinatramania takes hold at the National Museum of American History https://www.washingtonpost.com/express/wp/2015/11/25/sinatramania-takes-hold-at-the-national-museum-of-american-history/ Frank Sinatra and the 'bobby-soxers' https://www.theguardian.com/century/1940-1949/Story/0,,127764,00.html The Beatles Were Louder Than a Jumbo Jet At Shea Stadium, Data Reveals https://www.newsweek.com/louder-beatles-fab-four-made-more-noise-jumbo-jet-data-reveals-498285 10 Facts About The Beatles's 'The Ed Sullivan Show' Debut https://www.mentalfloss.com/entertainment/music/the-beatles-ed-sullivan-debut-facts Why did the Beatles Stop Touring? https://www.aaronkrerowicz.com/beatles-blog/why-did-the-beatles-stop-touring Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week's episode covers the latest updates across the Peloton ecosystem and the broader fitness industry. We begin with a critical security notice regarding a circulating phishing email about Tread lock passcodes, followed by essential scheduling updates for those planning to book classes during the upcoming studio maintenance period. Our coverage spans major industry events, including the newly scheduled Peloton and HYROX partnership event in D.C., recent apparel releases, and the closure of nutrition coaching platform Stronger U. We also track the latest instructor developments, from Camila Ramon's music debut to Ross Rayburn launching his independent yoga platform. To support your fitness routine, we review the newest programming additions, including the expanded Menopause Collection, upcoming Women's History Month rides, and a comprehensive breakdown of the most challenging workouts currently available on the platform. Listen in for a factual, straightforward look at everything happening this week.SCAM WARNING: Details on the fake "Peloton Tread lock passcode change" email currently making the rounds and how to protect your account.Studio Updates: Information on the upcoming Peloton Studio maintenance and how it will temporarily affect your class bookings.Event News: Breaking down the newly scheduled Peloton and HYROX fitness event taking place in Washington, D.C.Apparel: A look at the items featured in the newest Peloton apparel drop.Industry News: Discussing the recent closure of the nutrition and fitness company Stronger U.Instructor Updates: Camila Ramon releases her new single.Life & Style: Ally Love discusses parenting and her latest Pinterest features.Studio Returns: Nico Sarani makes her return to teach at Peloton Studios New York (PSNY).Recognition: Robin Arzon is featured by the National Museum of the American Latino.New Ventures: Former instructor Ross Rayburn launches his own independent yoga platform.Upcoming Classes: Denis Morton prepares to lead the highly anticipated Club Gold low-impact ride.TCO Top 5: A review of the top listener-recommended fitness classes for you to check out this week.This Week at Peloton: A comprehensive look at the week's major Peloton highlights and scheduling news.TCO Radar: Specific classes and fitness programs we think you should be paying attention to right now.Special Programming: Highlighting the new classes added for Women's History Month.Health & Wellness: Peloton's Menopause Collection grows with new targeted fitness content.Upcoming Rides: Previewing the scheduled B.E.T. Sistas ride.Class Breakdown: A detailed look at what ranks among Peloton's hardest classes.Training Programs: Peloton officially drops its dedicated HYROX training program for hybrid fitness athletes.Strength Plans: Breaking down Joslyn Thompson Rule's new monthly strength plan.Subscribe to the podcast on your preferred platform to ensure you never miss an update, and share this episode with anyone looking to stay current on their fitness journey. For links to the specific classes and news articles mentioned in today's show, please check the resource list in our weekly newsletter (sign up at theclipout.com)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A select few Native American artists choose to express their cultural and creative passions in miniature. An exhibition starting this month at the National Museum of Toys and Miniatures celebrates those artists who make distinctive pottery, baskets, and carvings on a decidedly downsized scale. The top Indigenous beaders, potters, painters, and weavers are headed to the Heard Museum in Phoenix, Ariz. for that institution's 68th annual Indian Art Fair and Market. The Heard welcomes more than 600 artists from all over the world for what has become one of the must-go events for both artists and collectors. We'll hear from organizers and artists from both of these events. GUESTS Marcus Monenerkit (Comanche descendant), director of community engagement at the Heard Museum Barbara Teller Ornelas (Diné), master Navajo weaver Aydrian Day (Ojibwe, Odawa, Potawatomi, Dakota and Lakota and an enrolled member of the Ho-Chunk Nation), artist Sydney Pursel (Iowa Tribe of Kansas and Nebraska), curator at the Spencer Museum of Art and an advisory group member for the “Native Arts in Miniature” exhibition Amy McKune, curator and senior manager of collections at the National Museum of Toys and Miniatures Break 1 Music: Crossroad Blues (song) Lakota John (artist) Lakota John and Kin (album) Break 2 Music: Digital Winter (song) Ya Tseen (artist) Stand On My Shoulders (album)

We're talking about the politics of bodycam footage around federal arrests in DC, your crazy high utility bills, and a possible tax break for…. Bidets. Plus, in a members-only fourth segment: What's going on with your taxes? Did Congress really whack DC's tax code, or not? Want some more DC news? Then make sure to sign up for our morning newsletter Hey DC. You can text us or leave a voicemail at: ‪(202) 642-2654‬. You can also become a member, with ad-free listening, for as little as $10 a month. Learn more about the sponsors of this March 6th episode: National Museum of the American Indian Awesome ConInterested in advertising with City Cast? Find more info HERE

A select few Native American artists choose to express their cultural and creative passions in miniature. An exhibition starting this month at the National Museum of Toys and Miniatures celebrates those artists who make distinctive pottery, baskets, and carvings on a decidedly downsized scale. The top Indigenous beaders, potters, painters, and weavers are headed to the Heard Museum in Phoenix, Ariz. for that institution's 68th annual Indian Art Fair and Market. The Heard welcomes more than 600 artists from all over the world for what has become one of the must-go events for both artists and collectors. We'll hear from organizers and artists from both of these events. GUESTS Marcus Monenerkit (Comanche descendant), director of community engagement at the Heard Museum Barbara Teller Ornelas (Diné), master Navajo weaver Aydrian Day (Ojibwe, Odawa, Potawatomi, Dakota and Lakota and an enrolled member of the Ho-Chunk Nation), artist Sydney Pursel (Iowa Tribe of Kansas and Nebraska), curator at the Spencer Museum of Art and an advisory group member for the “Native Arts in Miniature” exhibition Amy McKune, curator and senior manager of collections at the National Museum of Toys and Miniatures Break 1 Music: Crossroad Blues (song) Lakota John (artist) Lakota John and Kin (album) Break 2 Music: Digital Winter (song) Ya Tseen (artist) Stand On My Shoulders (album)

The Petworth Peanuts group chat was a place for people to commiserate about parenting, get doctor recommendations and meet up for beer. Until a slew of posts about Gaza, immigration enforcement, and the federal takeover threw its 1000 plus members into intense disagreements. The Washington Post's Maura Judkis was a member and has just published an essay chronicling the meltdown that followed — and asking whether even something so simple as a parenting group chat has to be so fraught in the DC of 2026.   Want some more DC news? Then make sure to sign up for our morning newsletter Hey DC. You can text us or leave a voicemail at: (202) 642-2654. You can also become a member, with ad-free listening, for as little as $10 a month.  Learn more about the sponsors of this March 5th episode: National Museum of the American Indian  Awesome Con Interested in advertising with City Cast? Find more info HERE.

Teckningarna mest underhållande i stor utställning med Johan Tobias Sergels konst. Lyssna på alla avsnitt i Sveriges Radios app. I dag förknippas han kanske främst med ett torg i centrala Stockholm, men i mitten av 1700-talet hörde skulptören Johan Tobias Sergel till den internationella konstnärseliten. Nu visar Nationalmuseum hans verk i en stor utställning, samtidigt som Magnus Olausson ger ut en omfångsrik biografi över konstnären. Kulturredaktionens konstkritiker Mårten Arndtzén har besökt utställningen tillsammans med författaren.

Unga riskerar livet för att få dansa på gatorna i Teheran vi har sett bilderna både före och efter att kriget bröt ut. Varför har dansen blivit en så viktig symbol? Lyssna på alla avsnitt i Sveriges Radios app. P1 kultur gästas av författarna Balsam Karam och Elnaz Baghlanian i ett samtal om hur trotset och protesterna – men också sorgen – tar sig uttryck genom dans.ALI ABBASI: REGISSÖREN SOM DJUPDYKT BÅDE I MULLORNA OCH TRUMPSvensk-dansk-iranske regissören Ali Abbasi har skildrat både mullornas Iran och Donald Trump i sina filmer. Hur ser han på händelseutvecklingen i Iran, och hur censuren har format vilken typ av historier som kan – och inte kan – berättas på film?DET VEKA OCH MÄNSKLIGA HOS SERGELSkulptören och tecknaren Johan Tobias Sergel var en av de viktigaste gestalterna i det sena 1700-talets konstvärld, med nyklassicismens ideal om det storslagna och ädla. Men i hans skulpturer och skisser anas också något mänskligt och grubblande. Nu visar Nationalmuseum i Stockholm en stor utställning om Sergel. Mårten Arndtzén berättar om den med hjälp av Sergelkännaren Magnus Olausson.MJUKT, MÖRKT OCH DRÖMMANDE NÄR WATERBABY ALBUMDEBUTERARHon slog igenom med ”Stockholmsvy” tillsammans med Hannes för fyra år sedan, men först nu släpper Waterbaby, eller Kendra Egerbladh, sitt debutalbum ”Memory be a blade”. Hon gästar P1 kulturs studio och berättar om soundet på nya skivan.MED NIETZSCHE SOM FÖLJESLAGARE”Jag håller inte med Nietzsche i allt, men han är min mest uppmuntrande följeslagare när jag känner vanmakt inför civilisationen, inför maktmänniskor, inför livslögnerna”. Det skriver poeten Ingela Strandberg i dagens OBS-essä, om hur Nietzsche följt henne genom livet.Programledare: Saman BakhtiariProducent: Karin Arbsjö

Okay so you want to impress someone but your wallet is giving “balling on a budget.” We've all been there. Good news: Jade Womack, the genius behind Clockout DC, is here to prove that romance does not have to break the bank in this very expensive city. She shares DC's best date spots for around $15 or less.  Want some more DC news? Then make sure to sign up for our morning newsletter Hey DC. You can also become a member, with ad-free listening, for as little as $10 a month. Learn more about the sponsors of this March 4th episode: National Museum of the American Indian Awesome Con Interested in advertising with City Cast? Find more info HERE.

Jesień 1777. Wzgórza nad rzeką Hudson w stanie Nowy York.7 tysięcy najlepszych brytyjskich żołnierzy maszeruje na Albany. Jeśli tam dotrą, Ameryka wraca pod koronę. Na ich drodze pozornie nic nie stoi.W tym odcinku zobaczysz, co się dzieje, gdy kompetencja spotyka ignorancję. Gdy jedna zignorowana rada prowadzi do katastrofy, a jedna wysłuchana zmienia losy wojny. I zadasz sobie pytanie: Czy potrafisz budować w ciszy, gdy nikt nie patrzy?To historia o porażce zamienionej w zwycięstwo. O samotności, która nie złamała. I o okopach, które okazały się ważniejsze niż szarże kawalerii.Słuchaj teraz — trzeci rozdział niesamowitej podróży Kościuszki przez Amerykę.Wesprzyj mój podcast: Będę wdzięczny za postawienie mi kawy → suppi.pl/lepiejteraz Zostań Mecenasem odcinka→ patronite.pl/podcastlepiejterazŹRÓDŁA ODCINKA:Biografie podstawowe:Alex Storożyński, The Peasant Prince: Thaddeus Kosciuszko and the Age of Revolution (2009)Francis C. Kajencki, Thaddeus Kosciuszko: Military Engineer of the American Revolution (South Polonia Press, 1998)Tadeusz Korzon, Kościuszko: Biografia z dokumentów wysnuta (1894/1896)Monica Gardner, Kościuszko: A Biography (1920, Project Gutenberg)Miecisław Haiman, Kosciuszko: Leader and Exile (1946)James S. Pula, Thaddeus Kościuszko: The Purest Son of Liberty (Hippocrene Books, 1999)Gary Nash & Graham Hodges, Friends of Liberty: Thomas Jefferson, Tadeusz Kościuszko, and Agrippa Hull (Basic Books, 2008)Źródła pierwotne – korespondencja i dokumenty:George Washington do Henry'ego Laurensa, 10 listopada 1777 (Founders Online: Washington/03-12-02-0185): „Cosieski, I think his name is… is a person of knowledge and merit”Raport Gatesa do Kongresu: „Colonel Kosciuszko chose and entrenched the position” (za Gardnerą i Kajenckim)Gates o Kościuszce – zdanie przypisywane przez Storożyńskiego, Kajenckiego i Pulę: „the great tacticians of the campaign were hills and forests, which a young Polish Engineer was skillful enough to select for my encampment” (oryginał nie zlokalizowany w archiwach cyfrowych)Artykuły i źródła akademiczne:Smithsonian Magazine, marzec 2017 – profil KościuszkiAmerican Battlefield Trust – profile bitew pod Saratogą (battlefields.org)National Park Service – Saratoga National Historical ParkMuseum of the American Revolution – wirtualny spacer po śladach Kościuszki (amrevmuseum.org)National Museum of the United States Army – biogram Kościuszki (thenmusa.org)Angry Staff Officer (blog) – „Thaddeus Kosciusko: The Polish Engineer You Never Heard of Who Saved America” (2019)Ambasador RP Piotr Wilczek, cytowany za Richmond Times-Dispatch (2018)Monticello / Thomas Jefferson Foundation – biogram KościuszkiBritannica – hasła: Tadeusz Kościuszko, Battles of Saratoga, American RevolutionKontekst historyczny Rewolucji Amerykańskiej:American Battlefield Trust – American Revolution FAQNational Army Museum (UK) – American War of Independence: OutbreakU.S. Department of State, Office of the Historian – „The Declaration of Independence, 1776″The American Yawp (podręcznik akademicki, open source) – rozdział 5: The American RevolutionCytaty źródłowe:„ziemny fort został zbudowany pod doświadczonym okiem polskiego inżyniera” – American Battlefield Trust„Cosieski, I think his name is…” – Washington do Laurensa, Founders Online„Colonel Kosciuszko chose and entrenched the position” – raport Gatesa do Kongresu„The great tacticians of the campaign were hills and forests…” – Gates, za Storożyńskim/Kajenckim/Pulą„I would say his influence is even more significant than Lafayette” – Alex Storożyński, Smithsonian Magazine„nie zgodził się i ostatecznie nie pozwolił mu zbudować umocnień na Sugar Loaf” – American Battlefield Trust, za St. ClairKajencki o Bemis Heights„Wjechał na wzgórze i zbadał teren…” – Thaddeus Kosciuszko:Military Engineer of the American RevolutionStorożyński o taktyce opóźniania: „Kościuszko ocalił uciekającą armię…” – The Peasant Prince

We're talking about the politics of Waymo in DC, the state of the Potomac after the spill, and allegations about workers getting stiffed at what was supposed to be a groundbreaking gay bar. Plus, in a members-only fourth segment, we'll talk about George Washington University selling a Virginia campus — and what it might mean for downtown DC. Want some more DC news? Then make sure to sign up for our morning newsletter Hey DC. You can text us or leave a voicemail at: (202) 642-2654. You can also become a member, with ad-free listening, for as little as $10 a month.  Learn more about the sponsors of this March 3rd episode: National Museum of the American Indian  Awesome Con Interested in advertising with City Cast? Find more info HERE

Happy March! The City Cast DC team is running through the best of food, culture, and fun in and around DC this month. If you're new here, welcome! We've put together a starter pack for you, with episodes and articles to welcome you to the City Cast community. For even more tips on how to make the most of March in DC, check out Hey DC's take on what to do this month.  Want some more DC news? Then make sure to sign up for our morning newsletter Hey DC. You can text us or leave a voicemail at: (202) 642-2654. You can also become a member, with ad-free listening, for as little as $10 a month.  Learn more about the sponsors of this March 2nd episode: National Museum of the American Indian Awesome Con Interested in advertising with City Cast? Find more info HERE.

Hello! Keeley takes us down lots of fragrant and delicious rabbit holes all about the violet. This small but mighty flower has deep roots in the floristry world, as well as being the OG red rose (it'll make sense once you listen!) And yes, this gave Keeley another opportunity to complain about roses.We take a trip down memory lane with films and books, take a quick stop at the Tate to admire some art and look up recipes for violet pudding.Books* The Hedgerow Apothecary by Christine Iverson* Folklore and Symbolism of Flowers, Plants, and Trees by Ernst and Johanna Lehner* Floriography by Jessica Roux* Discovering the Folklore of Plants by Margaret Baker* Flowers and Their Meanings by Karen AzoulayArtwork* Lady with a Bowl of Violets by Lila Cabot Perry (1910) at the National Museum of Women in the Arts* A Bouquet of Violets by Édouard Manet (1872)* Ophelia by John Everett Millais (1851-52) at the TateHead to our Instagram for visuals.Also mentioned* Betty May @bettymaywrote - features the character Violet the mouse in the Wildwood series* The article by Felicity Hall from historyworkshop.org.uk about flower girlsFlowers & Folklore on InstagramWe'd love to hear from you! Have your own floral stories or lore about violets? We're accepting reader submissions, so if you have a flower story, (about any flower) please share it with us! Comment below or email us at flowersandfolklorepodcast@gmail.comEnjoy the episode!Sarah & KeeleyFind Sarah online: Instagram | Substack | PinterestFind Keeley online: Instagram | SubstackMore info and transcript on Flowers & Folklore you must access this via your desktop and not your phone.P.S. Leave us a voice note! Get full access to Flowers & Folklore at flowersandfolklore.substack.com/subscribe

We're joined by Chicago-based metal artist Eric W. Stephenson, founder of LunaBurn Studio and a fifth-generation craftsman. In addition to his own extensive career creating metal sculpture, Stephenson spent the final 23 years of Richard Hunt's life working alongside the legendary artist, helping bring ambitious abstract metal sculptures to life. Stephenson talks about how Hunt's career spanned more than 70 years and helped shape American metal sculpture, from his early civil rights–era work—including his response to the murder of Emmett Till—to major public commissions. His work appears in collections at the Museum of Modern Art (MoMA) in New York City, the National Museum of African American History and Culture in Washington, D.C., and at the Obama Presidential Center in Chicago. Stephenson reflects on the craft, the collaboration, and what it means to help carry forward Hunt's life's work today through the Richard Hunt Legacy Foundation. Email us at podcast@fmamfg.org with any comments, questions, or suggestions.

Music put Nashville on the map. And specifically, it's our music museums putting us on the U.S. Civil Rights Trail map.Jefferson Street Sound Museum and the new Museum of Gospel and Christian Music have just been added to the must-see landmarks — joining the National Museum of African American Music. Today, we go for a trifecta, visiting all three in one hour.This episode was produced by Blake Farmer and Mary Mancini.Guests Lorenzo Washington, founder, curator and president, Jefferson Street Sound Museum Karen Coffey, vice president, Jefferson Street Sound Museum Bill Jeffries, executive director, National Museum of African American Music Romello Smith, artist relations and fan engagement, National Museum of African American Music Jackie Patillo, Gospel Music Association Doe, recording artist Steve Gilreath, executive director, Museum of Gospel and Christian Music

What if some of your hometown's oldest, most haunted spaces were hidden in plain sight? What if they were so hidden, you quite literally walk and/or drive by them every day? The hometown in question is the museum's hometown of Houston, Texas. And today's guest, Texana Tours founder Richard Cook, joins the podcast to talk about places where you'd no doubt experience things from another dimension. Genevieve and Richard discuss the Jeff Davis Hotel (now an apartment complex) and the Donnellan Family Crypt, just two of many examples of paranormal places around the Greater Houston area. They tie it back to the museum's larger mission to educate and inform the public about the final rite of passage that we will all experience. Death. To learn more about Texana Tours, contact Richard HERE. To plan your visit to The National Museum of Funeral History, go HERE.See omnystudio.com/listener for privacy information.

We zitten down under in de schaduw van Uluru, een rots in Australië. Het is 17 augustus 1980 en de familie Chamberlain zit op de camping rond een kampvuur. Dan weerklinkt een huilende baby, mama Lindy herkent haar 9 weken oude dochter Azaria en loopt naar de tent. Plots weerklinkt een ijzingwekkende kreet. Hier is aflevering 175! Zit je met iets? Praat bij Tele-Onthaal over wat jou bezighoudt. Bel anoniem en gratis naar 106 (24u/7d) of chat via tele-onthaal.be 20% korting en gratis verzending met VOLKSJURY20 op www.colonelgustave.com. Honden en kattenvoeding, gemaakt van kwaliteitsvolle en lokale ingrediënten, zonder artificiële toevoegingen én met respect voor de planeet. Voornaamste bronnen: Australian Dictionary of Biography - Biography - Azaria Chantel Chamberlain Australian Geographic - Azaria Chamberlain final inquest Canberra Times - Botanist 'happy with tests' Canberra Times - Dingo could have taken child, ranger tells coroner Canberra Times - Drag mark, dingo tracks found near campsite Canberra Times - Father of missing baby tells of joy at birth Creighton - Rumors and Facts; Lindy Chamberlain Creighton - The Story; Lindy Chamberlain Creighton - Timeline of Events: Lindy Chamberlain Fairfax Digital - All the makings of a classic whodunnit National Museum of Australia - Azaria Chamberlain inquest The Australian - Discovery of jacket vindicated Lindy The Independent - Australia's fourth inquest opens in Azaria Chamberlain dingo case Wikipedia - Death of Azaria Chamberlain / Dingo / Uluru / Verdwijning van Azaria ChamberlainSee omnystudio.com/listener for privacy information.

Efter Gustav III:s död ville den nya förmyndarregimen – med hertig Karl i spetsen – tona ner mordets politiska sprängkraft. Att det skulle framstå som ett adligt uppror måste undvikas. Och polismästare Nils Henric Liljensparres ihärdiga arbete med att kartlägga hela konspirationen blev snart ett problem.Karriäristen Liljensparres lojalitet mot Gustav III vändes snart i ett förföljande av gustavianerna i ett försök att blidka förmyndarregeringen. Men Liljensparre, som skaffat sig många fiender i arbetet som polismästare och spionchef, skulle bli en syndbocken som ett oroligt Sverige behövde.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med författaren Tomas Eriksson om den komplexa roll Liljensparre spelade i kölvattnet av kungamordet. Eriksson är aktuell med boken Syndabocken – Polismästare Liljensparres uppgång och fall (Stockholmia).Inledningsvis belönades Liljensparre för sina insatser med fortsatta ämbeten och stort förtroende. Men han var en man med många fiender – både bland de han tidigare spionerat på i Stockholm och inom den nya maktapparaten. Hans vilja att rädda vissa av de huvudmisstänkta undan dödsstraff tolkades som politiskt illojalt. Dessutom väckte hans aggressiva metoder alltmer kritik.Trots försök att vinna den nya regimens gunst – bland annat genom att rikta sina spioneriinsatser mot Gustav III:s gamla allierade, däribland Gustaf Mauritz Armfelt – lyckades han inte återvinna inflytande. I själva verket bidrog Liljensparre till Armfelts fall genom att sprida rykten.Hans impopularitet bland stockholmarna kulminerade i det så kallade Ebelska upploppet – en protest mot polisens hårda metoder, som han inte kunde stävja utan militär hjälp. Den mäktige Gustaf Adolf Reuterholm använde upploppet som svepskäl för att avsätta honom.I januari 1793 förflyttades han till Svenska Pommern under förevändning att reformera polisen där – i praktiken ett sätt att avlägsna honom från huvudstadens politiska scen. Det var början på hans definitiva fall.Efter flera år i Pommern tilläts Liljensparre återvända till Sverige 1799. Han återinsattes i statlig tjänst, men nu inom tullväsendet snarare än inom polisen. Som ledamot i Generaltulldirektionen beskrevs han som både effektiv och despotisk – egenskaper som följt honom genom hela hans karriär. Han pensionerades 1811 och avled i Stockholm 1814, vid 75 års ålder.Nils Henric Liljensparre var både banbrytare och paradox. Han byggde upp ett polisväsende som låg före sin tid i metod och effektivitet – men verkade i ett samhälle där rättssäkerheten var svag och politikens nycker ofta styrde rättvisan. Han blev hjälten som grep kungens mördare – och syndabocken som offrades när det politiska spelet krävde en syndabock. Hans historia visar vad som kan hända när lagens väktare själva blir brickor i maktens spel.Bild: Montage: Polismästare Nils Henric Liljensparre (1738–1814) av Johan Erik Bolinder, ur samlingarna på Nationalmuseum. Licens: CC BY-SA 4.0. I bakgrunden karta över Pommern. Ursprungligen skapad av Eilhard Lubin 1635 och senare publicerad av Willem & Joan Blaeu i deras berömda Atlas Blaeu (1662). Bilden visar det historiska hertigdömet Pommern med noggrant tecknade gränser och topografiska detaljer, typiska för barockens kartografi.Musik: Elegant Arguments av Boris Skalsky, Storyblock AudioKällorEriksson, Tomas (2025). Syndabocken: polismästare Liljensparres uppgång och fall. [Stockholm]: Stockholmia förlagSvenskt biografiskt lexikon, artikel om Nils Henric LiljensparreEricson Wolke, Lars (2005). Mordet på Gustav III. Lund: Historiska mediaNationalencyklopedin, artiklar om Gustav III och 1700-talets rättsväsendeKlippare: Emanuel Lehtonen Hosted on Acast. See acast.com/privacy for more information.

När kung Gustav III sköts vid en maskeradbal i mars 1792 mobiliserade Sveriges förste polismästare, Nils Henric Liljensparre, en intensiv jakt på konspiratörerna. Bara några timmar senare lyckades han gripa gärningsmannen Johan Jacob Anckarström.Liljensparre var en mästare på att få misstänkta att tala och använde sig av en systematisk bevisinsamling som låg långt före sin tid. Konspirationen visade sig sträcka sig djupt in i adeln, och hans beslutsamhet att avslöja sanningen skulle snart kosta honom dyrt.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med författaren Tomas Eriksson om mordet på Gustav III och den dramatiska roll som polismästare Nils Henric Liljensparre spelade i jakten på konspiratörerna. Eriksson är aktuell med boken Syndabocken – Polismästare Liljensparres uppgång och fall.Nils Henric Aschan Liljensparre (1738–1814), född Sivers, var jurist och erfaren ämbetsman. År 1776 blev han den första polismästaren i Stockholm, som del av en ny polisiär organisation. Han byggde upp ett effektivt underrättelsenätverk med informatörer som bevakade allt från tjuvar till politiska pamflettskrivare och moderniserade polisväsendet med metoder långt före sin tid.Men det var under krisåret 1792 som han verkligen trädde fram som en nyckelfigur. Då var han inte bara operativ polischef utan även tillförordnad överståthållare – med direkt insyn i ordningsmakten och maktens innersta kretsar.Vid den ödesdigra maskeradbalen på Operan – trots upprepade varningar mot kungens närvaro – deltog Gustav III bland de maskerade gästerna. En grupp män i svarta dominodräkter närmade sig, och ett skott avlossades bakifrån – laddat med kulor, spik och metallfragment. Kungen föll inte omedelbart, men var dödligt sårad. Tretton dagar senare, den 29 mars 1792, avled han.Liljensparre kallades omedelbart till platsen. Under kungens order inledde han en intensiv mordutredning. Operans utgångar spärrades, misstänkta identifierades genom intervjuer och avgörande bevis – däribland mordvapnet – säkrades. Redan samma natt organiserade han en rekonstruktion. Pistoler visades för stadens pistolsmeder, varav en kände igen vapnet han nyligen reparerat åt kapten Jacob Johan Anckarström.Liljensparres arbete var metodiskt och bevisbaserat. Genom vapenspåret kunde Anckarström gripas redan dagen efter attentatet – ett remarkabelt resultat med dåtidens mått. Förhören inleddes omedelbart. Genom att vädja till Anckarströms känslor för sina barn fick Liljensparre honom att bekänna och namnge medkonspiratörer.Nätverket av sammansvurna visade sig inkludera flera unga officerare – däribland Adolph Ribbing och Claes Fredrik Horn – samt den inflytelserike aristokraten Carl Fredrik Pechlin. Men högre upp i hierarkin blev det svårare att nå fram. Pechlin förblev tyst och undkom fällande dom.Bild: Montage: Polismästare Nils Henric Liljensparre (1738–1814) av Johan Erik Bolinder, ur samlingarna på Nationalmuseum. Licens: CC BY-SA 4.0. I bakgrunden Norrmalmstorg (nuvarande Gustav Adolfs torg) och Kungliga slottet med Gamla Norrbro.Akvarellerad konturetsning av Johan Fredrik Martin (1755–1816), Källa: Stadsmuseet. Licens: CC BY-SA 4.0.Musik: Elegant Arguments av Boris Skalsky, Storyblock AudioKällorEriksson, Tomas (2025). Syndabocken: polismästare Liljensparres uppgång och fall. [Stockholm]: Stockholmia förlagSvenskt biografiskt lexikon, artikel om Nils Henric LiljensparreEricson Wolke, Lars (2005). Mordet på Gustav III. Lund: Historiska mediaNationalencyklopedin, artiklar om Gustav III och 1700-talets rättsväsendeKlippare: Emanuel Lehtonen Hosted on Acast. See acast.com/privacy for more information.

Ellen Kamhi, The Natural Nurse, talks with Angela Manno who studied at the San Francisco Art Institute, Parsons School of Design, and l'Ecole des Arts in Lacoste, France, through Sarah Lawrence College. Her work has been exhibited around the world, including by NASA, the Smithsonian's National Air and Space Museum, and the National Museum of Women in the Arts.  She also collaborates with the Center for Biological Diversity on its endangered species programs.  She presents each threatened species in a traditionally religious form—the icon—to illustrate its intrinsic value and true significance. www.angelamanno.com

In 2016 Tara Roberts was living in Washington DC feeling, in a new way, the deep fractures in America, including the way we understand our history.  She felt called to be part of trying to heal these divisions.   It was a chance encounter with a photograph at the National Museum of African American History and Culture that changed the trajectory of her life.  It was of a group of Black women on a boat in diving gear who she quickly discovered  were from an organization called Diving with a Purpose, an underwater archeology group with a mission to discover and document the wreckage of slave ships scattered on the ocean floor around the world, and by doing so recover a crucial part of history. Roberts soon quit her job and joined the group to document their work, learning to scuba dive in order to do so. She turned that journey into an award-winning National Geographic-produced podcast called “Into the Depths” and became the first Black female explorer ever to be featured on the cover of National Geographic Magazine.  This work also resulted in a memoir Written in the Waters which both invites us into the fascinating and groundbreaking work below the surface of the Ocean around the globe, and her own personal transformation. Roberts has travelled the world as a diver, backpacker, and adventurer,  bringing to this conversation a global view of history and culture, and a devotion to tell the stories that can bring us together.  She is currently Explorer-in-Residence at the National Geographic Society. Here's Tara Roberts in conversation with Shayna Schlosberg from the 2025 Portland Book Festival, on Literary Arts, the Archive Project. Tara Roberts spent the last six years following, diving with, and telling stories about Black scuba divers as they searched for and helped document slave shipwrecks around the world. Her journey was turned into an award-winning National Geographic-produced podcast called “Into the Depths” and featured in the March issue of National Geographic magazine. Tara became the first Black female explorer ever to be featured on the cover of Nat Geo. In 2022, Tara was named the Rolex National Geographic Explorer of the Year. Currently, she is an Explorer-in-Residence at the National Geographic Society. And her book Written in the Waters: A Memoir of History, Home and Belonging hits stands in January 2025. Tara also worked as an editor for magazines like CosmoGirl, Essence, EBONY and Heart & Soul and edited several books for girls. She was a Fellow at the MIT Open Documentary Lab. She founded her own magazine for women who are ‘too bold for boundaries..’ And Tara spent an amazing year backpacking around the world to find and tell stories about young women change agents. The journey led to the creation of a nonprofit that supported and funded their big ideas. Shayna Schlosberg is the Vice President of Community Connections at OPB and KMHD, where she leads initiatives to ensure that both organizations authentically reflect and serve the diverse communities of the Pacific Northwest. In this role, she shapes and drives the strategy, vision, and implementation of community representation and inclusion across all aspects of OPB and KMHD's work. Shayna joined OPB and KMHD in 2022. Prior to that, she was the Director of Operations and Strategy at Women of Color in the Arts, a national service organization committed to advancing racial and cultural equity in the performing arts. From 2017 to 2021, she served as Managing Director of The Catastrophic Theatre, an acclaimed experimental theater company in Houston, Texas. Before that, she was Associate General Manager at the Alley Theatre, where she played a key role in expanding the theater's international programming, particularly through partnerships with Latin American artists and companies. Shayna's expertise has been recognized nationally—she has served on grant panels for the National Endowment for the Arts. She is a graduate of several leadership programs, including the National Association of Latino Arts and Culture's Advocacy Leadership Institute, Women of Color in the Arts' Leadership Through Mentorship program, and the 2020 New Leaders Council Fellowship. She was also a founding advisory committee member of the Houston BIPOC Arts Network Fund, a groundbreaking effort born out of the Ford Foundation's America's Cultural Treasures initiative. Shayna served in the Peace Corps in Armenia from 2010 to 2012.

Amin, Nina www.deutschlandfunk.de, Eine Welt

Amin, Nina www.deutschlandfunk.de, Eine Welt

The Smithsonian Institution is restoring a gunboat that sank in a 1776 Revolutionary War battle. As part of a series with the Smithsonian Institution presenting 25 objects that tell the story of America, Jennifer Jones, a curator at the National Museum of American History, talks about the story of the vessel, its recovery and its restoration. Then, Young People's Records was a popular mail-order subscription club in the 1940s, '50s and '60s. Smithsonian Folkways director and curator Maureen Loughran talks about why the music became such a hit, how the record club works and why it's important for telling the story of America.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Hillary Langberg discusses Wisdom of the Goddess, an online exhibition she curated for the Smithsonian's National Museum of Asian Art featuring nine goddesses across Hindu and Buddhist traditions. Langberg traces her path from fieldwork at western Deccan cave temples to public humanities, and addresses the curatorial choices, pedagogical design, and theological framing involved in presenting devī traditions to diverse audiences. The conversation explores the Hindu-Buddhist interface in goddess worship, visual texts as evidence, and transmission beyond academic containers. 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

Hillary Langberg discusses Wisdom of the Goddess, an online exhibition she curated for the Smithsonian's National Museum of Asian Art featuring nine goddesses across Hindu and Buddhist traditions. Langberg traces her path from fieldwork at western Deccan cave temples to public humanities, and addresses the curatorial choices, pedagogical design, and theological framing involved in presenting devī traditions to diverse audiences. The conversation explores the Hindu-Buddhist interface in goddess worship, visual texts as evidence, and transmission beyond academic containers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Hillary Langberg discusses Wisdom of the Goddess, an online exhibition she curated for the Smithsonian's National Museum of Asian Art featuring nine goddesses across Hindu and Buddhist traditions. Langberg traces her path from fieldwork at western Deccan cave temples to public humanities, and addresses the curatorial choices, pedagogical design, and theological framing involved in presenting devī traditions to diverse audiences. The conversation explores the Hindu-Buddhist interface in goddess worship, visual texts as evidence, and transmission beyond academic containers. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

Hillary Langberg discusses Wisdom of the Goddess, an online exhibition she curated for the Smithsonian's National Museum of Asian Art featuring nine goddesses across Hindu and Buddhist traditions. Langberg traces her path from fieldwork at western Deccan cave temples to public humanities, and addresses the curatorial choices, pedagogical design, and theological framing involved in presenting devī traditions to diverse audiences. The conversation explores the Hindu-Buddhist interface in goddess worship, visual texts as evidence, and transmission beyond academic containers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Hillary Langberg discusses Wisdom of the Goddess, an online exhibition she curated for the Smithsonian's National Museum of Asian Art featuring nine goddesses across Hindu and Buddhist traditions. Langberg traces her path from fieldwork at western Deccan cave temples to public humanities, and addresses the curatorial choices, pedagogical design, and theological framing involved in presenting devī traditions to diverse audiences. The conversation explores the Hindu-Buddhist interface in goddess worship, visual texts as evidence, and transmission beyond academic containers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

Hillary Langberg discusses Wisdom of the Goddess, an online exhibition she curated for the Smithsonian's National Museum of Asian Art featuring nine goddesses across Hindu and Buddhist traditions. Langberg traces her path from fieldwork at western Deccan cave temples to public humanities, and addresses the curatorial choices, pedagogical design, and theological framing involved in presenting devī traditions to diverse audiences. The conversation explores the Hindu-Buddhist interface in goddess worship, visual texts as evidence, and transmission beyond academic containers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Episode Notes Full descrptions from the Library of Congress “The Tramp and the Dog” (1896)                                                          "The Tramp and the Dog," a silent film from Chicago's Selig Polyscope Company, is considered director William Selig's most popular early work. Filmed in Rogers Park, it is recognized as the first commercial film made in Chicago. Previously a lost film, it was rediscovered in 2021 at the National Library of Norway. The film depicts a tramp who attempts to steal a pie from a backyard windowsill, only to be met by a broom-wielding housewife and her dog, who foils the crime. The film is one of the first known as “pants humor,” where a character loses (or almost loses) his pants during an altercation. This scene inspired future comedy gags showing drifters and tramps losing their pants to dogs chasing them. “The Oath of the Sword” (1914)                                                                        A three-reel silent drama, "The Oath of the Sword" depicts the tragic story of two young lovers separated by an ocean. Masao follows his ambitions, studying abroad at the University of California, Berkeley, while Hisa remains in Japan, caring for her ill father. This earliest known Asian American film production featured Japanese actors playing Japanese characters and was produced by the Los Angeles-based Japanese American Film Company. Made at a time when Hollywood studios were not yet the dominant storytellers of the American film industry, "The Oath of the Sword" highlights the significance of early independent film productions created by and for Asian American communities. James Card, the founding curator at the George Eastman Museum, acquired “The Oath of the Sword” in 1963. The museum made a black and white photochemical preservation in 1980. In 2023, a new preservation reproducing the original tinting was done in collaboration with the Japanese American National Museum, and the film has since become widely admired. “The Maid of McMillan” (1916)Known to be the first student film on record, this whimsical, silent romance film was shot on campus in 1916 by students in the Thyrsus Dramatic Club at Washington University in St. Louis, Missouri. Club members Donald Stewart (Class of 1917) and George D. Bartlett (Class of 1920) wrote the screenplay. The original nitrate print of “The Maid of McMillan” was rediscovered in 1982, and two 16mm prints were made; the original nitrate was likely destroyed at this time. In 2021, with funding from the National Film Preservation Foundation, one of those 16mm prints was scanned at 4k and reprinted onto 35mm helping to secure the film's survival and legacy. “The Lady” (1925)When “The Lady” debuted in theaters in 1925, the silent film era had hit its stride, and this movie represents a powerhouse of artists at their peak. Director Frank Borzage was a well-established expert in drawing out intense expressions of deep emotion and longing in his actors. He did just that with the film's lead actress, Norma Talmadge, also at the height of her career, both in front of and behind the camera. Talmadge produced “The Lady” through her production company and commissioned one of the most prolific screenwriters, Frances Marion, to deliver a heartfelt story of a woman seeking to find the son she had to give up, to protect him from his evil grandfather. “The Lady” was restored by the Library of Congress in 2022. “Sparrows” (1926)As a silent actress, producer and key founder in the creation of the American film industry, Mary Pickford's performance in “Sparrows” represents her ability to master the genre she helped nourish: sentimental melodramas full of adventure and thrills, with dashes of comedy and heartfelt endings. Pickford plays Molly, the eldest orphan held within the swampy squalor of the Deep South, who moves heaven and earth to save the other orphan children from a Dickensian world of forced labor. The film takes some departures from the visual styles found in Pickford's other films, invoking an unusual tone of despair while deploying camera angles and lighting akin to German Expressionist cinema. “Sparrows” was preserved by the Library of Congress in collaboration with the Mary Pickford Company in 2020. “Ten Nights in a Barroom” (1926)                                                                     Featuring an all-Black cast, “Ten Nights in a Barroom” was produced in 1926 by the Colored Players Film Corporation of Philadelphia and is the earliest of only two surviving films made by the company. This silent film is based on the stage melodrama adapted from the 1854 novel “Ten Nights in a Bar-Room and What I Saw There” by Timothy Shay Arthur. Released in 2015 by Kino Lorber as part of the five-disc set “Pioneers of African-American Cinema,” the compilation was produced by the Library of Congress, in association with the British Film Institute, George Eastman Museum, Museum of Modern Art, National Archives, Smithsonian's National Museum of African American History and Culture, Southern Methodist University and the UCLA Film & Television Archive. Preserved by George Eastman Museum. “White Christmas” (1954)                                                           While the chart-topping song "White Christmas" was first performed by Bing Crosby for the 1942 film "Holiday Inn," its composer, Irving Berlin, was later inspired to center the song in the 1954 musical "White Christmas." Crosby, along with Danny Kaye, Rosemary Clooney, Vera-Ellen Rohe and director Michael Curtiz, embedded "White Christmas" in American popular culture as a best-selling single and the top-grossing film of 1954, as well as regular holiday viewing throughout the decades. The story of two World War II veterans-turned-entertainers and a singing sister act preparing a show for a retired general, the film and its grand musical numbers were captured in VistaVision, a widescreen process developed by Paramount Pictures and first used for "White Christmas." “High Society” (1956)                                                                  Often referred to as the last great musical of the Golden Age of Hollywood, “High Society” features an all-star cast including Bing Crosby, Grace Kelly, Frank Sinatra and Louis Armstrong (and his band), along with a memorable score of Cole Porter classics. Set in Newport, Rhode Island, the film showcases the Newport Jazz Festival (established in 1954) and features a remarkable version of Cole Porter's “Now You Has Jazz.” It includes the first big-screen duet by Frank Sinatra and Bing Crosby, singing “Well, Did You Evah?” This was Grace Kelly's last movie before she retired from acting and married the Prince of Monaco; she wore her Cartier engagement ring while filming. “Brooklyn Bridge” (1981)                                               With “Brooklyn Bridge,” Ken Burns introduced himself to the American public, telling the story of the New York landmark's construction. As with later subjects like the Civil War, jazz and baseball, Burns connects the building of the Brooklyn Bridge to American identity, values and aspirations. Released theatrically and nominated for an Academy Award for Best Documentary Feature, “Brooklyn Bridge” marked the beginning of Burns' influential career in public media*.* More than just a filmmaker, Burns has become a trusted public historian. His storytelling presents facts, but maybe more importantly, invites reflection on what America is, where it's been, and where it's going. His influence is felt not only in classrooms and through public broadcasting, but across generations who see history as something alive and relevant. “Say Amen, Somebody” (1982)George Nierenberg's documentary is a celebration of the historical significance and spiritual power of gospel music. With inspirational music, joyful songs and brilliant singers, the movie focuses on the men and women who pioneered gospel music and strengthened its connections to African American community and religious life. Prior to production, Nierenberg, who is white, spent over a year in African American churches and communities, gaining the trust of the performers. Restored by the Smithsonian's National Museum of African American History and Culture in 2020, the film features archival footage, photographs, stirring performances and reflections from the father of gospel Thomas A. Dorsey and its matron Mother Willie Mae Ford Smith. Nierenberg shows the struggles and sacrifices it takes to make a living in gospel, including criticism endured by women who sought to pursue careers as professional gospel singers while raising their families. “The Thing” (1982)Moody, stark, often funny and always chilling, this science fiction horror classic follows Antarctic scientists who uncover a long-dormant, malevolent extraterrestrial presence. “The Thing” revolutionized horror special effects and offers a brutally honest portrait of the results of paranoia and exhaustion when the unknown becomes inescapable. “The Thing” deftly adapts John W. Campbell's 1938 novella “Who Goes There?” and influenced “Stranger Things” and “Reservoir Dogs.” It remains a tense, thrilling and profoundly unsettling work of cinema. “The Big Chill” (1983)Lawrence Kasdan's best picture-nominated “The Big Chill” offers an intimate portrait of friends reunited after the suicide of one of their own and features actors who defined cinema in the 1980s – Glenn Close, William Hurt, Jo Beth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly. This powerful ensemble portrays American stereotypes of the time – the yuppie, the drug dealer, the TV star – and deftly humanizes them. Through humor, tenderness, honesty and an amazing soundtrack, it shows formerly idealistic Americans making and dealing with the constant compromises of adulthood, while buoying one another with uncompromising love and friendship. “The Karate Kid” (1984)An intimate story about family and friendship, “The Karate Kid” also succeeds as a hero's journey, a sports movie and a teen movie – a feel-good movie, but not without grit. The film offers clearly defined villains, romance and seemingly unachievable goals, but also an elegant character-driven drama that is relatable and touching. A father who has lost his son meets the displaced son of a single mother and teaches him about finding balance and avoiding the pitfalls of violence and revenge. Race and class issues are presented honestly and are dealt with reasonably. Our hero practices a lot, gets frustrated, gets hurt, but still succeeds. It's as American as they come, and it's a classic. “Glory” (1989)“Glory,” described by Leonard Maltin as “one of the finest historical dramas ever made,” portrays a historical account of the 54th Regiment, a unit of African American soldiers who fought for the North in the Civil War. Authorized by the Emancipation Proclamation of 1863, the regiment consisted of an all-Black troop commanded by white officers. Matthew Broderick plays the young colonel who trains the troop, and Denzel Washington (in an Academy Award-winning performance) is among an impressive cast that includes Morgan Freeman, Cary Elwes and Andre Braugher. American Civil War historian James M. McPherson said the film "accomplishes a remarkable feat in sensitizing a lot of today's Black students to the role that their ancestors played in the Civil War in winning their own freedom.” “Philadelphia” (1993)                                                                  “Philadelphia” stars Tom Hanks in one of the first mainstream studio movies to confront the HIV/AIDS crisis. In the film, law partner Andrew Beckett (Hanks) is fired from his firm when they discover that he is gay and has AIDS. He hires personal attorney Joe Miller (Denzel Washington) to help him with litigation against his former employer. Director Jonathan Demme is quoted as saying, “The film is not necessarily just about AIDS, but rather everyone in this country is entitled to justice.” The film won two Oscars: one for Hanks and the other for Bruce Springsteen's original song, “The Streets of Philadelphia.” Through the song's mainstream radio and MTV airplay, it brought the film and its conversation around the HIV/AIDS pandemic to a wider audience. “Before Sunrise” (1995)                                                              Richard Linklater has explored a wide range of narrative storytelling styles while consistently capturing ordinary, everyday American life. However, his innovative use of time as a defining and recurring cinematic tool has become one of his most significant accomplishments. As the first film in his “Before” trilogy – three films, each shot nine years apart – “Before Sunrise” unfolds as one of cinema's most sustained explorations of love and the passage of time, highlighting the human experience through chance encounters and conversation. With his critically acclaimed 12-year production of the film “Boyhood” (2014) and a new 20-year planned production underway, his unique use of the medium of film to demonstrate time passing demonstrates an unprecedented investment in actors and narrative storytelling. “Clueless” (1995)                                                             A satire, comedy and loose Jane Austen literary adaptation dressed in teen movie designer clothing, “Clueless,” directed by Amy Heckerling, rewards both the casual and hyper-analytical viewer. It's impossible to miss its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism, and repeated viewings reveal its unpretentiously presented and extraordinarily layered and biting social commentary about class, privilege and power structures. Heckerling and the incredible cast never talk down to the audience, creating main characters that viewers root for, despite the obvious digs at the ultrarich. The film centers on Cher (Alicia Silverstone) as a well-intentioned, fashion-obsessed high school student who is convinced she has life figured out. In the age of MTV, the film's popularity launched Paul Rudd's career and Silverstone's iconic-1990s status. The soundtrack, curated by Karyn Rachtman, helped solidify the film as a time capsule of clothing, music, dialogue and teenage life. “The Truman Show” (1998)Before social media and reality television, there was “The Truman Show.” Jim Carrey breaks from his usual comedic roles to star in this dramatic film about a man who, unbeknownst to him, is living his life on a soundstage filmed for a popular reality show. Adopted at birth by the television studio, Truman Burbank (Carrey) grew up in the (fictitious) town of Seahaven Island with his family and friends playing roles (paid actors). Cameras are all over the soundstage and follow his activities 24/7. Almost 30 years since its release, the film continues to be a study in sociology, philosophy and psychology, and has inspired university classes on media influence, the human condition and reality television. “Frida” (2002)Salma Hayek produced and starred in this biopic of Frida Kahlo, adapted from the book “Frida: A Biography of Frida Kahlo” by Hayden Herrera. The film explores Kahlo's rise as an artist in Mexico City and the impact disability and chronic pain from an accident as a young adult had on her life and work. The film centers around her tumultuous and passionate relationships, most significantly with her husband, painter Diego Rivera (Alfred Molina). Directed by Julie Taymor, the film was nominated for six Academy Awards, including Best Actress. It won awards for Best Makeup and Best Original Score for Elliot Goldenthal, who also won a Golden Globe in the same category. “The Hours” (2002)Director Stephen Daldry's “The Hours” weaves the novel “Mrs. Dalloway” into three women's stories of loneliness, depression and suicide. Virginia Woolf, played by Nicole Kidman (who won an Oscar and a Golden Globe for her performance), is working on the novel while struggling with what is now known as bipolar disorder. Laura, played by Julianne Moore (nominated for Best Actress in a Supporting Role), is unfulfilled in her life as a 1950s housewife and mother. Clarissa (played by Meryl Streep) is – like Mrs. Dalloway – planning a party, but for her close friend who is dying of AIDS. The film is based on Michael Cunningham's Pulitzer Prize-winning novel. It earned nine Academy Award nominations, including Best Picture, and won a Golden Globe for Best Picture. “The Incredibles” (2004)                                                 With an all-star cast and memorable soundtrack, this Academy Award-winning Pixar hit uses thrilling action sequences to tell the story of a family trying to live normal lives while hiding their superpowers. For the first time, Pixar hired an outside director, Brad Bird, who drew inspiration from spy films and comic books from the 1960s. The animation team developed a new design element to capture realistic human anatomy, hair, skin and clothing, which Pixar struggled with in early films like “Toy Story.” The film spawned merchandise, video games, Lego sets and more. The sequel, “Incredibles 2,” was also a huge hit, and together, both films generated almost $2 billion at the box office. “The Wrecking Crew” (2008)                                                     “The Wrecking Crew” is a documentary that showcases a group of Los Angeles studio musicians who played on many hit songs and albums of the 1960s and early 1970s, including “California Dreamin',” “The Beat Goes On,” “You've Lost That Lovin' Feeling” and “These Boots Are Made for Walkin'.” Through interviews, music, footage and his own narration, director Denny Tedesco reveals how the Wrecking Crew members – including his father, guitarist Tommy Tedesco – were the unsung heroes of some of America's most famous songs. Production for the film began in 1996, and the film was completed in 2008. Due to the high cost of song licenses, the official release was delayed until 2015, when a successful Kickstarter campaign raised over $300,000 to pay for the music rights. “Inception” (2010)                                                                         Writer and director Christopher Nolan once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects. “Inception” asks the question, “Can you alter a person's thoughts by manipulating their dreams?” Taking almost 10 years to write, the film was praised for its aesthetic significance and Nolan's ability to create scenes using cameras rather than computer-generated imagery. A metaphysical heist film with an emotional core driven by grief and guilt, “Inception” offers a meditation on how dreams influence identity, and it resonates deeply in an age of digital simulation, blurred realities and uncertainty. The film earned $830 million at the box office and won four Academy Awards. “The Loving Story” (2011)Nancy Buirski's acclaimed documentary gives an in-depth and deeply personal look at the true story of Richard Loving (a white man) and Mildred Loving (a Black and Native American woman), who were forbidden by law to marry in the state of Virginia in the 1960s. Their Supreme Court case, Loving vs. Virginia, was one of the most significant in history, and paved the way for future multiracial couples to marry. The movie captures the immense challenges the Lovings faced to keep their family and marriage together, through a combination of 16mm footage, personal photographs, accounts from their lawyers and family members, and audio from the Supreme Court oral arguments. “The Grand Budapest Hotel” (2014)“The Grand Budapest Hotel” stands as one of Wes Anderson's most successful films and demonstrates his own brand of unique craftsmanship, resulting in a visually striking and emotionally resonant story. As one of the most stylistically distinctive American filmmakers of the last half-century, Anderson uses historically accurate color and architecture to paint scenes to elicit nostalgia and longing from audiences, while at the same time weaving in political and social upheaval into the film. The film is an example of Anderson as a unique artist who uses whimsy, melancholy, innovative storytelling and a great deal of historical research, which is on display in this visually rich gem of a movie. Find out more at https://registry-a-podcast.pinecast.co

Feliks Banel's guest on this BONUS EPISODE of CASCADE OF HISTORY is Frederik Larsen, Deputy Director of the Greenland National Museum & Archives in Nuuk, Greenland. CASCADE OF HISTORY reached out to the museum in Greenland to find out what steps staff there are taking to collect the artifacts and stories of the very recent - and very turbulent past - as the President of the United States has, at times, threatened military annexation of the sovereign Arctic island. Mr. Larsen also shared his observations of what it's been like in Greenland over the past several weeks of threats, and following more restrained remarks made last week in Davos, Switzerland. CASCADE OF HISTORY spoke with Frederik Larsen on Wednesday, January 28, 2026. Greenland National Museum & Archives https://en.nka.gl/ CASCADE OF HISTORY is broadcast LIVE most Sunday nights at 8pm Pacific Time via flagship station SPACE 101.1 FM in Seattle and gallantly streams everywhere via www.space101fm.org. The radio station broadcasts from studios at historic Magnuson Park – located in the former Master-at-Arms' quarters in the old Sand Point Naval Air Station - on the shores of Lake Washington in Seattle. Subscribe to the CASCADE OF HISTORY podcast via most podcast platforms and never miss regular weekly episodes of Sunday night broadcasts as well as frequent bonus episodes. "LIKE" the Cascade of History Facebook page and get updates and other stories throughout the week, and advance notice of live remote broadcasts taking place in your part of the Old Oregon Country.

Angela Manno studied at the San Francisco Art Institute, Parsons School of Design, and l'Ecole des Arts in Lacoste, France, through Sarah Lawrence College. Her work has been exhibited around the world, including by NASA, the Smithsonian's National Air and Space Museum, and the National Museum of Women in the Arts. Angela Manno was commissioned by NASA to commemorate the U.S. return to space flight with the launch of Discovery, the first after the Challenger accident. She is the only female visual artist selected for this honor. The program she narrated,  “Responding to the Cry of the Earth,” was created for the Vatican,  which features images from her series Contemporary Icons of Endangered Species  She also collaborates with the Center for Biological Diversity on its endangered species programs. The Sacred Biodiversity Oracle stimulates empathy and meaningful action for planetary healing. Exploring the richness and necessity of biodiversity, this 36-cardfull-color deck features the work of world-renowned artist Angela Manno and reveals how the loss of biodiversity is leading to the warming of our planet. A unique feature of this work are QR codes that lead to the websites of one of 18 specially curated conservation organizations from all over the world that are helping to protect species, including EarthJustice, The Center for Biological Diversity, The Wildlife Justice Commission and The Orangutan Project. She presents each threatened species in a traditionally religious form—the icon—to illustrate its intrinsic value and true significance.

As part of a series with the Smithsonian Institution presenting 25 objects that tell the story of America, Daniel Piazza, chief curator of philately at the Smithsonian National Postal Museum, talks about the significance of the first stamps issued by the federal government. Plus, few people know the real story of "The Star-Spangled Banner," or that the massive flag that inspired it still exists. Jennifer Jones, a curator of the Smithsonian Institution's National Museum of American History, shares the history of the banner.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

The Smithsonian's National Museum of African Art in Washington, D.C. this week opens Here: Pride and Belonging in African Art, a new exhibition focusing on LGBTQ+ artists from across Africa and its diaspora. Ben Luke talks to its co-curator, Kevin Dumouchelle, about the exhibition and forthcoming book. We explore the cultural effects of the protests in Iran that began at the end of last year, and the brutal crackdown that followed, with Sarvy Garenpayeh, one of The Art Newspaper's reporters on the Middle East. Sarvy has attempted to contact art workers after the Iranian government cut off the internet two weeks ago. And this episode's Work of the Week is Louise Nevelson's Moon Garden Plus One (1958), a landmark installation first staged in New York that is being reprised, at least in part, in a new survey of the American sculptor's work at the Centre Pompidou-Metz in Metz, France. We speak to the curator of the exhibition, Anne Horvath.Here: Pride and Belonging in African Art, National Museum of African Art, Washington, D.C., 23 January–23 August. The related book, published by Smithsonian Books, will be available later this year.The London gallery Ab-Anbar, which was founded in Tehran in 2014, has announced that it has extended its solo exhibition of the Iranian artist Amin Bagheri's work until 22 February. The gallery has been hosting what it describes as “moments of togetherness for its London community: a space to gather, talk, and be together”, in solidarity with the people of Iran.Louise Nevelson: Mrs. N's Palace, Centre Pompidou-Metz, Metz, France, 24 January-31 AugustTo buy The Art Newspaper's guidebook The Year Ahead 2026, an authoritative look at the year's unmissable art exhibitions, museum openings and significant art events, visit theartnewspapershop.com. £14.99 or the equivalent in your currency. Hosted on Acast. See acast.com/privacy for more information.

Episode No. 742 features artist Woody De Othello, and artists Jason Garcia, Michael Namingha, and curator Bess Murphy. The Pérez Art Museum Miami is presenting "Woody De Othello: coming forth by day," a presentation of new ceramic and wood sculptures, tiled wall works, and a large-scale bronze, all of which explore the primordial relationship between body, earth, and spirit. The exhibition was organized by Jennifer Inacio with the support of Fabiana A. Sotillo. It is on view in Miami through June 28 after which it will travel to the Manetti Shrem Museum of Art, University of California, Davis. De Othello's sculpture, painting, and drawing often investigate the still life genre. His previous institutional solo exhibition was at The Bowes Museum in the UK. Museums that have featured his work in group shows include the Metropolitan Museum of Art, New York, the Seattle Art Museum, the University of Michigan Museum of Art, and the Fine Arts Museums of San Francisco. The Whitney Museum of American Art included him in its 2022 biennial. Later this year, his work will be featured in a Public Art Fund solo presentation in Brooklyn's Brooklyn Bridge Park. He is an artist trustee of the San Francisco Museum of Modern Art. Garcia and Murphy are the co-curators of "Tewa Nangeh/Tewa Country" at the Georgia O'Keeffe Museum in Santa Fe. Namingha is among the 13 artists in the exhibition, 12 of whom are from the six Tewa Pueblos of northern New Mexico (Nambé, Ohkay Owingeh, Pojoaque, San Ildefonso, Santa Clara, and Tesuque).  "Tewa Nangeh" presents the work of Tewa artists while highlighting O'Keeffe's erasure of Tewa people. It is on view through September 7. Garcia's work is in the collection of museums such as the Heard Museum in Phoenix, the Art Institute of Chicago, the Nelson-Atkins Museum of Art, Kansas City, and the Smithsonian's National Museum of the American Indian. Namingha's work is also on view through April 5 at the Museum of Indian Arts and Culture, Santa Fe in "Essential Elements: Art, Environment, and Indigenous Futures." The El Paso Museum of Art and the IAIA Museum of Contemporary Native Arts, Santa Fe have featured solo exhibitions of his work; he's been in group shows at museums such as the Minneapolis Institute of Arts, the Metropolitan Museum of Art, New York, and the Hood Museum of Art, Dartmouth College. Instagram: Woody De Othello, Jason Garcia, Michael Namingha, Tyler Green. Air date: January 22, 2026.

Fluent Fiction - Mandarin Chinese: Finding Her Voice: A Winter Journey at the National Museum Find the full episode transcript, vocabulary words, and more:fluentfiction.com/zh/episode/2026-01-18-08-38-20-zh Story Transcript:Zh: 在冬天的一个早晨，梅琳和金海跟随学校一起去中国国家博物馆参观。En: On a winter morning, Meilin and Jinhai went with their school to visit the China National Museum.Zh: 博物馆坐落在北京的中心，宏伟壮观，有着数不清的历史文物。En: The museum is located in the center of Beijing, majestic and spectacular, with countless historical relics.Zh: 每个人都很兴奋，因为这是一次特别的机会，他们也正值过年期间，博物馆里充满了节日的气氛。En: Everyone was excited because it was a special opportunity, and it was during the New Year period, so the museum was filled with a festive atmosphere.Zh: 梅琳是一个内向的女孩，她很喜欢历史和文物，总是安静地观察、思考。En: Meilin is an introverted girl who loves history and cultural relics, always quietly observing and thinking.Zh: 少言的性格让她在小组活动中常常显得安静。En: Her quiet nature often makes her seem silent in group activities.Zh: 相反，金海总是充满活力，喜欢和同学分享他的见解，对任何事物都充满好奇。En: In contrast, Jinhai is always full of energy, enjoys sharing his insights with classmates, and is curious about everything.Zh: 导游带着大家到了古代文物馆。En: The tour guide led everyone to the Ancient Relics Hall.Zh: 金海在大家面前滔滔不绝地谈论古代兵器，引得同学们都围着他，表现出浓厚的兴趣。En: In front of everyone, Jinhai talked eloquently about ancient weapons, attracting his classmates who showed great interest.Zh: 梅琳站在一旁，她想参与讨论，但内心的羞涩让她犹豫不决。En: Meilin stood to the side, wanting to join the discussion, but her inner shyness made her hesitate.Zh: 时间有限，梅琳决定独自离开团队，去找寻自己心中的宝藏。En: With limited time, Meilin decided to leave the group on her own to search for her own treasure.Zh: 她静静地走到另一边的展厅，那是一片安静的角落，展示着关于传统节日的文物。En: She quietly walked to another exhibition hall, a quiet corner displaying artifacts related to traditional festivals.Zh: 一个精美的陶瓷灯笼吸引了她的目光。En: A beautifully crafted ceramic lantern caught her eye.Zh: 灯笼的旁边摆放了一块说明牌，上面讲述了这盏灯笼在古代春节时如何被用作祈福用具的故事。En: Next to the lantern was an information board, recounting the story of how this lantern was used as a blessing tool during the ancient Spring Festival.Zh: 梅琳被深深打动，她觉得这是一个很好的机会。En: Meilin was deeply moved, feeling it was a great opportunity.Zh: 回到团队后，看到大家还在讨论，她鼓起勇气走到金海身边，“金海，大家，我发现了一个有趣的东西！En: Upon returning to the group and seeing everyone still in discussion, she mustered up the courage to walk over to Jinhai's side, "Jinhai, everyone, I found something interesting!"Zh: ”大家安静下来，看向梅琳。En: Everyone quieted down and looked at Meilin.Zh: 梅琳稳了稳心神，开始讲述陶瓷灯笼的故事，解释它如何与春节的传统相关联，并描述了那个年代的人们如何通过灯笼来祈求好运。En: She steadied herself and began to tell the story of the ceramic lantern, explaining how it is related to the Spring Festival traditions and describing how people of that era used lanterns to pray for good luck.Zh: 随着她的讲述，更多的同学也被吸引过来，他们对梅琳的分享产生了浓厚的兴趣。En: As she spoke, more classmates were drawn over, taking a keen interest in Meilin's sharing.Zh: 金海惊讶地看着她，“这真是一个精彩的故事！En: Jinhai looked at her in surprise, "That's truly an amazing story!Zh: 你知道的真多。En: You know so much."Zh: ”他鼓励她讲更多。En: He encouraged her to tell more.Zh: 大家开始积极讨论这个文物的意义，气氛变得活跃而热烈。En: Everyone started actively discussing the significance of the artifact, and the atmosphere became lively and enthusiastic.Zh: 在这次经历后，梅琳意识到，其实她有很多可以分享的，不用害怕被忽略。En: After this experience, Meilin realized that she had a lot to share and didn't need to fear being overlooked.Zh: 她找到了自己的声音，明白了在团队中，她同样可以贡献出自己珍贵的视角和思想。En: She found her voice, understanding that in a group, she too can contribute her valuable perspectives and thoughts.Zh: 这个冬日的博物馆之旅，不仅让她亲眼看到了历史，也让她发现了内心的勇气。En: This winter museum trip not only allowed her to see history firsthand but also helped her discover the courage within her heart. Vocabulary Words:introverted: 内向的relics: 文物majestic: 宏伟spectacular: 壮观festive: 节日的opportunity: 机会curious: 好奇的eloquently: 滔滔不绝地weapons: 兵器hesitate: 犹豫不决exploring: 找寻treasure: 宝藏ceramic: 陶瓷lantern: 灯笼blessing: 祈福significance: 意义artifact: 文物mustered: 鼓起perspectives: 视角lively: 活跃enthusiastic: 热烈courage: 勇气steered: 稳了稳recounting: 讲述observe: 观察participation: 参与shyness: 羞涩mustering: 激起insights: 见解discovery: 发现

THE FORBIDDEN MUSEUM OF SHANTOU Colleague Tanya Branigan. Tanya Branigan discusses her book, Red Memory, and her visit to the Cultural Revolution Museum in Shantou. Founded by former official Peng Qi'an, this was the only museum in China dedicated to recording the era's violence and chaos. Built in a remote location on a site of mass graves to avoid scrutiny, the museum was eventually suppressed by authorities. Branigan recounts visiting during the Hu Jintao era while being monitored by undercover police. Today, the site is closed, unlike the National Museum, which relegates the decade-long catastrophe to a single "dingy corner." TANYA BRANIGAN NUMBER 11905 SHANGHAI MIXED COURT

Ben Nighthorse Campbell (Northern Cheyenne) is remembered as an effective congressional leader who passionately advocated for Native American issues. He served in both the U.S. House of Representatives and the U.S. Senate. Among other things, he was instrumental in the political advocacy for establishing the National Museum of the American Indians (NMAI). Harvey Pratt (Cheyenne and Arapaho) was a national voice in support of Native American arts. A large part of his career was as a police sketch artist. He also headed the Indian Arts and Crafts Board for a decade. A former U.S. Marine, he was an advocate for military veterans. His design for a Native American Veterans Memorial was chosen and built on the NMAI campus in 2022. GUESTS Suzan Shown Harjo (Cheyenne and Hodulgee Muscogee), president of the Morning Star Institute and recipient of the Presidential Medal of Freedom Rick West (Cheyenne and Arapaho), founding director and director emeritus of the Smithsonian National Museum of the American Indian Shanan Campbell (Northern Cheyenne), founder and CEO of Sorrel Sky Galleries and daughter of Ben Nighthorse Campbell Gina Pratt (Muscogee and Yuchi), wife of Harvey Pratt Nathan Pratt (Cheyenne and Arapaho), artist and son of Harvey Pratt Dee Cordry, former Oklahoma State Bureau of Investigation and author of “Children of White Thunder” Break 1 Music: I Walk with You (song) Joseph Fire Crow (artist) Face the Music (album) Break 2 Music: Put Your Feathers On (song) Blue Moon Marquee & Northern Cree (artist) Get Your Feathers Ready (Album)

Kitty Cone and Brad Lomax were key players in the 1977 sit-ins which pressured the Department of Health and Human Services to establish policies to implement section 504 of the 1973 Rehabilitation Act. Research: R.8070 - Rehabilitation Act of 1973. https://www.congress.gov/bill/93rd-congress/house-bill/8070 Grim, Andrew. “Sitting-in for disability rights: The Section 504 protests of the 1970s.” National Museum of American History. https://americanhistory.si.edu/explore/stories/sitting-disability-rights-section-504-protests-1970s “Celebrating Kitty Cone: 1944-2015.” https://dredf.org/celebrating-kitty-cone-1944-2015/ Feingold, Lainey. “Disability Rights Leader Kitty Cone Dies at 70.” BeyondChron. 3/23/2015. https://beyondchron.org/curtis-kitty-cone-disability-rights-hero-dead-at-70/ Gardiner, Kathryn S. “Forgotten Foremothers: Kitty Cone - Disability Activist.” League of Women Voters of Indiana. 7/9/2022. https://www.lwvin.org/content.aspx?page_id=5&club_id=42001&item_id=77659 Lu, Wendy. “Overlooked No More: Kitty Cone, Trailblazer of the Disability Rights Movement.” New York Times. 3/26/2021. https://www.nytimes.com/2021/03/26/obituaries/kitty-cone-overlooked.html Center for Learner Equality. “Brad Lomax – Uniting the Civil Rights and Disability Rights Communities.” https://www.centerforlearnerequity.org/news/brad-lomax-uniting-the-civil-rights-and-disability-rights-communities/ Essien, Markus, director and producer. “Renegades: Brad Lomax.” PBS. https://www.pbs.org/wnet/americanmasters/brad-lomax-documentary/33589/ Connelly, Eileen AJ. “Overlooked No More: Brad Lomax, a Bridge Between Civil Rights Movements.” New York Times. 7/20/2020. https://www.nytimes.com/2020/07/08/obituaries/brad-lomax-overlooked.html See omnystudio.com/listener for privacy information.

 In 2016, Tara Roberts was living in Washington D.C. and working at a nonprofit when she visited the National Museum of African American History and Culture and a photograph she saw there changed her life. The image was of Black scuba divers from the group Diving with a Purpose which searches for and documents slave shipwrecks around the world. Roberts quit her job, learned to scuba dive and chronicled the work of these scuba divers. Her book about that journey is “Written in the Waters: A Memoir of History, Home and Belonging.”

American newspaper publisher and all-around eccentric, Charles Francis Hall, was an unlikely candidate to become an Arctic explorer. Nevertheless, he made three trips to the frozen north, until he died there under suspicious circumstances. Sharpen your powers of deduction and join us on Sidedoor for an epic frozen whodunit, featuring shipwreck, romance, and a social media darling with a dark secret. We're resharing this longtime favorite from 2021 to bring you some wintry vibes. Guests:Stephen Loring, anthropologist and archeologist at the Arctic Studies Center of the Smithsonian's National Museum of Natural History Heidi Moses, volunteer with the Smithsonian Transcription CenterEmily Niekrasz, social media manager, Smithsonian Institution 

The third installment of our Charles Sumner episode covers how, two days after Charles Sumner delivered an incendiary speech before the senate, Representative Preston Brooks of South Carolina came into the Senate chamber and attacked Sumner at his desk. Research: "Sumner, Charles (1811-1874)." Encyclopedia of World Biography, Gale, 1998. Gale Academic OneFile, link.gale.com/apps/doc/A148425674/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=95485851. Accessed 31 Oct. 2025. “Roberts v. City of Boston, 5 Cush. 198, 59 Mass. 198 (1849).” Caselaw Access Project. Harvard Law School. https://case.law/caselaw/?reporter=mass&volume=59&case=0198-01 “The Prayer of One Hundred Thousands.” https://www.senate.gov/artandhistory/history/resources/pdf/PrayerofOneHundredThousand.pdf Alexander, Edward. “The Caning of Charles Sumner.” Battlefields.org. 3/6/2024. https://www.battlefields.org/learn/articles/caning-charles-sumner Beecher, Henry Ward. “Charles Sumner.” Advocate of Peace (1847-1884) , MAY, 1874. Via JSTOR. https://www.jstor.org/stable/27905613 Berry, Stephen and James Hill Welborn III. “The Cane of His Existence Depression, Damage, and the Brooks–Sumner Affair.” Southern Cultures , Vol. 20, No. 4 (WINTER 2014). Via JSTOR. https://www.jstor.org/stable/10.2307/26217562 Boston African American National Historic Site. “Abiel Smith School.” https://www.nps.gov/boaf/learn/historyculture/abiel-smith-school.htm Boston African American National Historic Site. “The Sarah Roberts Case.” https://www.nps.gov/articles/the-sarah-roberts-case.htm Child, Lydia Maria. “Letters of Lydia Maria Child.” Houghton, Mifflin and Company. 1883. https://archive.org/details/lettersoflydiam00chil Commonwealth Museum. “Roberts v. The City of Boston, 1849.” https://www.sec.state.ma.us/divisions/commonwealth-museum/exhibits/online/freedoms-agenda/freedoms-agenda-8.htm Frasure, Carl M. “Charles Sumner and the Rights of the Negro.” The Journal of Negro History , Apr., 1928, Vol. 13, No. 2 (Apr., 1928). Via JSTOR. https://www.jstor.org/stable/2713959 Gershon, Livia. “Political Divisions Led to Violence in the US Senate in 1856.” JSTOR Daily. 1/7/2021. https://daily.jstor.org/violence-in-the-senate-in-1856/ History, Art and Archives. “South Carolina Representative Preston Brooks’s Attack on Senator Charles Sumner of Massachusetts.” U.S. House of Representatives. https://history.house.gov/Historical-Highlights/1851-1900/South-Carolina-Representative-Preston-Brooks-s-attack-on-Senator-Charles-Sumner-of-Massachusetts/ Longfellow House Washington's Headquarters National Historic Site. “An Era of Romantic Friendships: Sumner, Longfellow, and Howe.” https://www.nps.gov/articles/an-era-of-romantic-friendships-sumner-longfellow-and-howe.htm Lyndsay Campbell; The “Abolition Riot” Redux: Voices, Processes. The New England Quarterly 2021; 94 (1): 7–46. doi: https://doi.org/10.1162/tneq_a_00877 Mahr, Michael. “Sumner vs. Cane.” National Museum of Civil War Medicine. 5/24/2023. https://www.civilwarmed.org/sumner-vs-cane/ Meriwether, Robert L. “Preston S. Brooks on the Caning of Charles Sumner.” The South Carolina Historical and Genealogical Magazine , Jan., 1951, Vol. 52, No. 1 (Jan., 1951). Via JSTOR. https://www.jstor.org/stable/27571254 Mount Auburn Cemetery. “Charles Sumner (1811-1874): U.S. Senator, Abolitionist, & Orator.” https://mountauburn.org/notable-residents/charles-sumner-1811-1874/ National Park Service. “Charles Sumner and Romantic Friendships.” https://www.nps.gov/articles/000/charles-sumner-and-romantic-friendships.htm Potenza, Bob. “Charles Sumner.” West End Museum. https://thewestendmuseum.org/history/era/west-boston/charles-sumner/ Ruchames, Louis. “Charles Sumner and American Historiography.” The Journal of Negro History , Apr., 1953, Vol. 38, No. 2 (Apr., 1953). https://www.jstor.org/stable/2715536 Senate Historical Office. “Senate Stories | Charles Sumner: After the Caning.” United States Senate. 5/4/2020. https://www.senate.gov/artandhistory/senate-stories/charles-sumner-after-the-caning.htm Sinha, Manisha. “The Caning of Charles Sumner: Slavery, Race, and Ideology in the Age of the Civil War.” Journal of the Early Republic , Summer, 2003, Vol. 23, No. 2 (Summer, 2003). Via JSTOR. https://www.jstor.org/stable/3125037 Sumner, Charles. “Barbarism of Slavery.” 6/4/1860. https://dotcw.com/documents/barbarism_of_slavery.htm Sumner, Charles. “Freedom National; Slavery Sectional.” 8/26/1852. https://en.wikisource.org/wiki/Freedom_National;_Slavery_Sectional Sumner, Charles. “The equal rights of all.” Washington, Printed at the Congressional globe office. 1866. https://archive.org/details/equalrightsofall00sumn Tameez, Zaakir. “Charles Sumner: Conscience of a Nation.” Henry Holt and Co. 2025. United States Senate. "The Crime Against Kansas.” https://www.senate.gov/artandhistory/history/minute/The_Crime_Against_Kansas.htm United States Senate. “REPORT.” 5/28/1856. https://www.senate.gov/artandhistory/history/resources/pdf/SumnerInvestigation1856.pdf United States Senate. “The Caning of Senator Charles Sumner.” https://www.senate.gov/artandhistory/history/minute/The_Caning_of_Senator_Charles_Sumner.htm Various, “Southern Newspapers Praise the Attack on Charles Sumner,” SHEC: Resources for Teachers, accessed October 31, 2025, https://shec.ashp.cuny.edu/items/show/1548. See omnystudio.com/listener for privacy information.

The second installment of our episode on Charles Sumner picks up in the wake of his controversial antiwar speech. He next argued a school integration case before the Massachusetts supreme judicial court. Research: "Sumner, Charles (1811-1874)." Encyclopedia of World Biography, Gale, 1998. Gale Academic OneFile, link.gale.com/apps/doc/A148425674/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=95485851. Accessed 31 Oct. 2025. “Roberts v. City of Boston, 5 Cush. 198, 59 Mass. 198 (1849).” Caselaw Access Project. Harvard Law School. https://case.law/caselaw/?reporter=mass&volume=59&case=0198-01 “The Prayer of One Hundred Thousands.” https://www.senate.gov/artandhistory/history/resources/pdf/PrayerofOneHundredThousand.pdf Alexander, Edward. “The Caning of Charles Sumner.” Battlefields.org. 3/6/2024. https://www.battlefields.org/learn/articles/caning-charles-sumner Beecher, Henry Ward. “Charles Sumner.” Advocate of Peace (1847-1884) , MAY, 1874. Via JSTOR. https://www.jstor.org/stable/27905613 Berry, Stephen and James Hill Welborn III. “The Cane of His Existence Depression, Damage, and the Brooks–Sumner Affair.” Southern Cultures , Vol. 20, No. 4 (WINTER 2014). Via JSTOR. https://www.jstor.org/stable/10.2307/26217562 Boston African American National Historic Site. “Abiel Smith School.” https://www.nps.gov/boaf/learn/historyculture/abiel-smith-school.htm Boston African American National Historic Site. “The Sarah Roberts Case.” https://www.nps.gov/articles/the-sarah-roberts-case.htm Child, Lydia Maria. “Letters of Lydia Maria Child.” Houghton, Mifflin and Company. 1883. https://archive.org/details/lettersoflydiam00chil Commonwealth Museum. “Roberts v. The City of Boston, 1849.” https://www.sec.state.ma.us/divisions/commonwealth-museum/exhibits/online/freedoms-agenda/freedoms-agenda-8.htm Frasure, Carl M. “Charles Sumner and the Rights of the Negro.” The Journal of Negro History , Apr., 1928, Vol. 13, No. 2 (Apr., 1928). Via JSTOR. https://www.jstor.org/stable/2713959 Gershon, Livia. “Political Divisions Led to Violence in the US Senate in 1856.” JSTOR Daily. 1/7/2021. https://daily.jstor.org/violence-in-the-senate-in-1856/ History, Art and Archives. “South Carolina Representative Preston Brooks’s Attack on Senator Charles Sumner of Massachusetts.” U.S. House of Representatives. https://history.house.gov/Historical-Highlights/1851-1900/South-Carolina-Representative-Preston-Brooks-s-attack-on-Senator-Charles-Sumner-of-Massachusetts/ Longfellow House Washington's Headquarters National Historic Site. “An Era of Romantic Friendships: Sumner, Longfellow, and Howe.” https://www.nps.gov/articles/an-era-of-romantic-friendships-sumner-longfellow-and-howe.htm Lyndsay Campbell; The “Abolition Riot” Redux: Voices, Processes. The New England Quarterly 2021; 94 (1): 7–46. doi: https://doi.org/10.1162/tneq_a_00877 Mahr, Michael. “Sumner vs. Cane.” National Museum of Civil War Medicine. 5/24/2023. https://www.civilwarmed.org/sumner-vs-cane/ Meriwether, Robert L. “Preston S. Brooks on the Caning of Charles Sumner.” The South Carolina Historical and Genealogical Magazine , Jan., 1951, Vol. 52, No. 1 (Jan., 1951). Via JSTOR. https://www.jstor.org/stable/27571254 Mount Auburn Cemetery. “Charles Sumner (1811-1874): U.S. Senator, Abolitionist, & Orator.” https://mountauburn.org/notable-residents/charles-sumner-1811-1874/ National Park Service. “Charles Sumner and Romantic Friendships.” https://www.nps.gov/articles/000/charles-sumner-and-romantic-friendships.htm Potenza, Bob. “Charles Sumner.” West End Museum. https://thewestendmuseum.org/history/era/west-boston/charles-sumner/ Ruchames, Louis. “Charles Sumner and American Historiography.” The Journal of Negro History , Apr., 1953, Vol. 38, No. 2 (Apr., 1953). https://www.jstor.org/stable/2715536 Senate Historical Office. “Senate Stories | Charles Sumner: After the Caning.” United States Senate. 5/4/2020. https://www.senate.gov/artandhistory/senate-stories/charles-sumner-after-the-caning.htm Sinha, Manisha. “The Caning of Charles Sumner: Slavery, Race, and Ideology in the Age of the Civil War.” Journal of the Early Republic , Summer, 2003, Vol. 23, No. 2 (Summer, 2003). Via JSTOR. https://www.jstor.org/stable/3125037 Sumner, Charles. “Barbarism of Slavery.” 6/4/1860. https://dotcw.com/documents/barbarism_of_slavery.htm Sumner, Charles. “Freedom National; Slavery Sectional.” 8/26/1852. https://en.wikisource.org/wiki/Freedom_National;_Slavery_Sectional Sumner, Charles. “The equal rights of all.” Washington, Printed at the Congressional globe office. 1866. https://archive.org/details/equalrightsofall00sumn Tameez, Zaakir. “Charles Sumner: Conscience of a Nation.” Henry Holt and Co. 2025. United States Senate. "The Crime Against Kansas.” https://www.senate.gov/artandhistory/history/minute/The_Crime_Against_Kansas.htm United States Senate. “REPORT.” 5/28/1856. https://www.senate.gov/artandhistory/history/resources/pdf/SumnerInvestigation1856.pdf United States Senate. “The Caning of Senator Charles Sumner.” https://www.senate.gov/artandhistory/history/minute/The_Caning_of_Senator_Charles_Sumner.htm Various, “Southern Newspapers Praise the Attack on Charles Sumner,” SHEC: Resources for Teachers, accessed October 31, 2025, https://shec.ashp.cuny.edu/items/show/1548. See omnystudio.com/listener for privacy information.

The first installment of the deeper examination of Charles Sumner's life begins with his early years, including his close relationships with Henry Wadsworth Longfellow and Samuel Gridley Howe. Research: "Sumner, Charles (1811-1874)." Encyclopedia of World Biography, Gale, 1998. Gale Academic OneFile, link.gale.com/apps/doc/A148425674/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=95485851. Accessed 31 Oct. 2025. “Roberts v. City of Boston, 5 Cush. 198, 59 Mass. 198 (1849).” Caselaw Access Project. Harvard Law School. https://case.law/caselaw/?reporter=mass&volume=59&case=0198-01 “The Prayer of One Hundred Thousands.” https://www.senate.gov/artandhistory/history/resources/pdf/PrayerofOneHundredThousand.pdf Alexander, Edward. “The Caning of Charles Sumner.” Battlefields.org. 3/6/2024. https://www.battlefields.org/learn/articles/caning-charles-sumner Beecher, Henry Ward. “Charles Sumner.” Advocate of Peace (1847-1884) , MAY, 1874. Via JSTOR. https://www.jstor.org/stable/27905613 Berry, Stephen and James Hill Welborn III. “The Cane of His Existence Depression, Damage, and the Brooks–Sumner Affair.” Southern Cultures , Vol. 20, No. 4 (WINTER 2014). Via JSTOR. https://www.jstor.org/stable/10.2307/26217562 Boston African American National Historic Site. “Abiel Smith School.” https://www.nps.gov/boaf/learn/historyculture/abiel-smith-school.htm Boston African American National Historic Site. “The Sarah Roberts Case.” https://www.nps.gov/articles/the-sarah-roberts-case.htm Child, Lydia Maria. “Letters of Lydia Maria Child.” Houghton, Mifflin and Company. 1883. https://archive.org/details/lettersoflydiam00chil Commonwealth Museum. “Roberts v. The City of Boston, 1849.” https://www.sec.state.ma.us/divisions/commonwealth-museum/exhibits/online/freedoms-agenda/freedoms-agenda-8.htm Frasure, Carl M. “Charles Sumner and the Rights of the Negro.” The Journal of Negro History , Apr., 1928, Vol. 13, No. 2 (Apr., 1928). Via JSTOR. https://www.jstor.org/stable/2713959 Gershon, Livia. “Political Divisions Led to Violence in the US Senate in 1856.” JSTOR Daily. 1/7/2021. https://daily.jstor.org/violence-in-the-senate-in-1856/ History, Art and Archives. “South Carolina Representative Preston Brooks’s Attack on Senator Charles Sumner of Massachusetts.” U.S. House of Representatives. https://history.house.gov/Historical-Highlights/1851-1900/South-Carolina-Representative-Preston-Brooks-s-attack-on-Senator-Charles-Sumner-of-Massachusetts/ Longfellow House Washington's Headquarters National Historic Site. “An Era of Romantic Friendships: Sumner, Longfellow, and Howe.” https://www.nps.gov/articles/an-era-of-romantic-friendships-sumner-longfellow-and-howe.htm Lyndsay Campbell; The “Abolition Riot” Redux: Voices, Processes. The New England Quarterly 2021; 94 (1): 7–46. doi: https://doi.org/10.1162/tneq_a_00877 Mahr, Michael. “Sumner vs. Cane.” National Museum of Civil War Medicine. 5/24/2023. https://www.civilwarmed.org/sumner-vs-cane/ Meriwether, Robert L. “Preston S. Brooks on the Caning of Charles Sumner.” The South Carolina Historical and Genealogical Magazine , Jan., 1951, Vol. 52, No. 1 (Jan., 1951). Via JSTOR. https://www.jstor.org/stable/27571254 Mount Auburn Cemetery. “Charles Sumner (1811-1874): U.S. Senator, Abolitionist, & Orator.” https://mountauburn.org/notable-residents/charles-sumner-1811-1874/ National Park Service. “Charles Sumner and Romantic Friendships.” https://www.nps.gov/articles/000/charles-sumner-and-romantic-friendships.htm Potenza, Bob. “Charles Sumner.” West End Museum. https://thewestendmuseum.org/history/era/west-boston/charles-sumner/ Ruchames, Louis. “Charles Sumner and American Historiography.” The Journal of Negro History , Apr., 1953, Vol. 38, No. 2 (Apr., 1953). https://www.jstor.org/stable/2715536 Senate Historical Office. “Senate Stories | Charles Sumner: After the Caning.” United States Senate. 5/4/2020. https://www.senate.gov/artandhistory/senate-stories/charles-sumner-after-the-caning.htm Sinha, Manisha. “The Caning of Charles Sumner: Slavery, Race, and Ideology in the Age of the Civil War.” Journal of the Early Republic , Summer, 2003, Vol. 23, No. 2 (Summer, 2003). Via JSTOR. https://www.jstor.org/stable/3125037 Sumner, Charles. “Barbarism of Slavery.” 6/4/1860. https://dotcw.com/documents/barbarism_of_slavery.htm Sumner, Charles. “Freedom National; Slavery Sectional.” 8/26/1852. https://en.wikisource.org/wiki/Freedom_National;_Slavery_Sectional Sumner, Charles. “The equal rights of all.” Washington, Printed at the Congressional globe office. 1866. https://archive.org/details/equalrightsofall00sumn Tameez, Zaakir. “Charles Sumner: Conscience of a Nation.” Henry Holt and Co. 2025. United States Senate. "The Crime Against Kansas.” https://www.senate.gov/artandhistory/history/minute/The_Crime_Against_Kansas.htm United States Senate. “REPORT.” 5/28/1856. https://www.senate.gov/artandhistory/history/resources/pdf/SumnerInvestigation1856.pdf United States Senate. “The Caning of Senator Charles Sumner.” https://www.senate.gov/artandhistory/history/minute/The_Caning_of_Senator_Charles_Sumner.htm Various, “Southern Newspapers Praise the Attack on Charles Sumner,” SHEC: Resources for Teachers, accessed October 31, 2025, https://shec.ashp.cuny.edu/items/show/1548. See omnystudio.com/listener for privacy information.