Podcasts about national museum

Deep within the National Museum of American History's vaults is a battered Atari case containing what's known as “the worst video game of all time.” The game is E.T. the Extra-Terrestrial, and it was so bad that not even the might of Steven Spielberg could save it. It was so loathsome that all remaining copies were buried deep in the desert. And it was so horrible that it's blamed for the collapse of the American home video game industry in the early 1980s. The story of just what went SO wrong with E.T.Produced by Lizzie Peabody for Sidedoor, a podcast from the Smithsonian with support from PRX.The Kitchen Sisters Present is produced by The Kitchen Sisters (Davia Nelson & Nikki Silva) with Nathan Dalton and Brandi Howell. The Kitchen Sisters Productions is part of Radiotopia from PRX.For more visit kitchensisters.org

Send us a textMexico City pulses with energy that spans nearly seven centuries, from its 1325 Aztec founding to its contemporary status as a sophisticated global metropolis. The sprawling capital reveals itself as a layered cultural treasure through the expert insights of Arturo Sanchez, Head Concierge at Andaz Mexico City Condesa Hotel, who shares his perspective on this magnificent city.At the ancient heart of Mexico City, the Zócalo plaza anchors the historic center where visitors can explore the 13th-century Templo Mayor ruins alongside colonial masterpieces like the Metropolitan Cathedral. Diego Rivera's stunning murals depicting Mexican history adorn the National Palace walls, while nearby, the Palacio de Bellas Artes dazzles with its Art Nouveau and Art Deco architecture, housing a Tiffany glass curtain. A few blocks away, hidden murals in the Public Education Secretary buildings showcase Mexico's muralist tradition.Beyond downtown, the cobbled streets of Coyoacán neighborhood transport visitors to another era, where Frida Kahlo's iconic Blue House museum captivates with intimate glimpses into the artist's life. The National Museum of Anthropology stands as an essential starting point for understanding Mexico's complex history through its comprehensive collection of pre-Hispanic artifacts displayed in a stunning modern building.The city's vibrant festival calendar reaches its colorful peak during Day of the Dead celebrations (November 1-2), when locals honor deceased loved ones through offerings, marigolds, and communal gatherings. Mexico City's world-class culinary scene ranges from street tacos to Michelin-starred restaurants, while nearby excursions offer archaeological wonders like the Teotihuacan pyramids where sunrise hot air balloon rides create unforgettable experiences.Mexican wrestling (Lucha Libre) is an acrobatic theatrical performance where audiences choose sides in a communal celebration. As Arturo shares from personal experience, these authentic cultural moments create meaningful connections, revealing why Mexico City remains one of the world's most captivating destinations.**Arturo Sanchez lives in Mexico City and is head concierge at Andaz Mexico City Condesa Hotel there.**Podcast host Lea Lane has traveled to over 100 countries, and  has written nine books, including the award-winning Places I Remember  (Kirkus Reviews star rating, and  'one of the top 100 Indie books of  the year'). She has contributed to many guidebooks and has written thousands of travel articles. _____Our award-winning travel podcast, Places I Remember with Lea Lane, has dropped over 115 travel episodes! New episodes drop on the first Tuesday of the month, on Apple, Spotify, and wherever you listen. _____Travel vlogs of our featured  podcasts-- with video and graphics -- now drop on YouTube . Please subscribe, like, and comment. ****************************************Website: https://placesirememberlealane.com Travel Blog: forbes.comBlueSky: lealane.bsky.socialX (Twitter):@lealane Instagram: PlacesIRemembe

Millions of years ago, many large, strange-looking sea creatures lived in what is now the South Atlantic Ocean. A museum in Washington, D.C., is giving visitors a chance to learn about these ancient animals.数百万年前，许多大型，奇怪的海洋生物都生活在现在的南大西洋。 华盛顿特区的一家博物馆为游客提供了了解这些古老动物的机会。Scientists say the continents of South America and Africa separated millions of years ago. As this happened, they say, many kinds of dangerous animals and other lifeforms settled in the newly formed body of water off the coast of Angola.科学家说，南美和非洲的大洲分开了数百万年前。 他们说，当发生这种情况时，许多危险的动物和其他生命形式定居在安哥拉沿海的新形成的水体中。Today, scientists are studying ancient animal remains discovered on the Angolan coast. It is part of a project created by an international team of researchers called Projecto PaleoAngola. The researchers come from Angola, Portugal, The Netherlands and the United States.如今，科学家正在研究在安哥拉海岸发现的古代动物遗体。 它是由一个名为Projecto Paleoangola的国际研究人员创建的项目的一部分。 研究人员来自安哥拉，葡萄牙，荷兰和美国。One U.S. researcher involved with the project is Louis Jacobs of Southern Methodist University, or SMU, in Dallas, Texas. He told VOA that scientists knew there would be remains in the area, but “didn't know how good they would be.”一位参与该项目的美国研究人员是德克萨斯州达拉斯的南方卫理公会大学的路易斯·雅各布斯（Louis Jacobs）。 他告诉VOA，科学家知道该地区会有遗骸，但“不知道它们会有多好。”Jacobs and a team of scientists and students at SMU helped prepare the remains to be shown at the National Museum of Natural History in Washington, D.C.雅各布斯（Jacobs）和SMU的一组科学家和学生团队帮助准备了遗体，将在华盛顿特区的国家自然历史博物馆展出。He said visitors to the museum can see the similarity between the ancient and modern ocean environment and animals.他说，博物馆的游客可以看到古代和现代海洋环境与动物之间的相似性。Michael Polcyn is another researcher at SMU. He says one ancient fish-eating animal had a long nose and teeth similar to that of a dolphin. He notes that visitors can see the remains of large, fierce animals like the mosasaur, as well as gentler creatures like an ancient giant sea turtle.Michael Polcyn是SMU的另一位研究员。 他说，一只食用鱼类的动物的鼻子和牙齿与海豚类似。 他指出，游客可以看到像莫萨尔这样的大而凶猛的动物的遗体，以及像古老的巨型海龟这样的柔和生物。"We have a snapshot of this moment in time 72 million years ago that has preserved all of these animals that were living together in one place."“我们有7200万年前的这一刻的快照，保存了所有这些动物，它们一起生活在一个地方。”Scientists say a large rock from space hit the earth millions of years ago and killed most of the animals.科学家说，太空中的一块大石头袭击了数百万年前的地球，并杀死了大多数动物。

At a time when many fiber arts stores are closing, Sara C. Bixler is bucking the trend. With degrees in both fine art and education, she had developed a studio practice as well as a teaching repertoire at the Pennsylvania weaving school where her father, Tom Knisely, had taught for decades. When that store closed, she decided to take the risk of opening a brand-new fiber arts center known as Red Stone Glen. It was an audacious project: the school and accompanying store occupy a rural campus in southeastern Pennsylvania, with space for several classes and even on-site lodging for students. Beginning a few years ago, the family took another step into the fiber arts when her husband, Dustin, acquired Bluster Bay Woodworking from its founders and began producing shuttles and other weaving tools “in the Glen,” too. She had support in her project from former students and from Tom, who was delighted to have a teaching home base again. Sara also loves opening her students' eyes to other weaving traditions, whether exploring weaving destinations overseas or preserving the legacy of American textile history in the National Museum of the American Coverlet, where she serves on the board of directors. Links Red Stone Glen (https://redstoneglen.com/) Triaxial weaving: Hex Weave & Mad Weave (https://red-stone-glen-fiber-arts-center.myshopify.com/products/hex-weave-mad-weave-an-introduction-to-triaxial-weaving?_pos=1&_sid=01e5449c8&_ss=r) by Elizabeth Harris and Charlene St. John National Museum of the American Coverlet (https://www.coverletmuseum.org/) Sara's videos on Boutenné (https://learn.longthreadmedia.com/courses/boutenn-with-sarah-bixler) and other subjects are available from Long Thread Media. (https://learn.longthreadmedia.com/collections?q=bixler) Sara leads tours to Japan (https://opulentquiltjourneys.com/all-craft-journeys/weaving-dyeing-holidays/item/discovering-japan-and-its-textiles?category_id=61) and Switzerland (https://opulentquiltjourneys.com/all-craft-journeys/weaving-dyeing-holidays/item/switzerlands-textile-heritage-and-christmas-markets?category_id=61) with Opulent Quilt Journeys. Bluster Bay Woodworks (https://blusterbaywoodworks.com/) This episode is brought to you by: Treenway Silks is where weavers, spinners, knitters and stitchers find the silk they love. Select from the largest variety of silk spinning fibers, silk yarn, and silk threads & ribbons at TreenwaySilks.com (https://www.treenwaysilks.com/). You'll discover a rainbow of colors, thoughtfully hand-dyed in Colorado. Love natural? Treenway's array of wild silks provide choices beyond white. If you love silk, you'll love Treenway Silks, where superior quality and customer service are guaranteed. The Michigan Fiber Festival—Michigan's largest sheep and wool festival—is a vibrant world of fiber arts. Discover five days of classes with nationally recognized teachers in spinning, weaving, lacemaking, dyeing, felting, and rug hooking. Enjoy three days of shopping. Delight in shearing and fiber arts demonstrations. Enjoy a truly immersive experience. Join us in August at the picturesque Allegan County Fairgrounds (you can even camp on site!) Find more details at michiganfiberfestival.info. (The Michigan Fiber Festival – Michigan's largest sheep and wool festival – is a vibrant world of fiber arts. Discover five days of classes with nationally recognized teachers in spinning, weaving, lacemaking, dyeing, felting, and rug hooking. Enjoy three days of shopping. Delight in shearing and fiber arts demonstrations. Enjoy a truly immersive experience. Join us in August at the picturesque Allegan County Fairgrounds (you can even camp on site!) Find more details at michiganfiberfestival.info.)

Matthew Bannister on Alan Yentob, the BBC's only Creative Director, who commissioned many successful TV programmes, was known as an impresario of talent and also presented Imagine. Richard Garwin, the American physicist who developed the Hydrogen bomb, but then devoted his life to nuclear disarmament.Dr. Joy Shaverien, the psychoanalyst who identified “boarding school syndrome” suffered by some who were sent away to school at an early age. Dr Anne Merriman, the former nun who made it her life's work to bring effective palliative care to Africa.Producer: Ed PrendevilleArchive used ichard Garwin Interview, Voices of the Manhattan Project – Atomic Heritage Foundation, Los Alamos Historical Society, The National Museum of Nuclear Science and History, 22/09/2018; Pride and Prejudice, Episode 2, BBC Four, Drama, Classic & Period; imagine...: Winter 2004 – Arthur Miller: Finishing the Picture, BBC; Desert Island Discs: Alan Yentob, BBC Radio 4, 08/10/1995; Cracked Actor: David Bowie, BBC, 04/04/2013; Boarding School Syndrome: In Conversation with Joy Schaverien, Interviewed by Joana de Waal, British Psychotherapy Foundation (bpf), YouTube Upload, 23/09/2019; Dr Anne Merriman Interviewed by Scott Murray, Royal College of Physicians of Edinburgh, 2023; orth West Tonight, BBC, 21/07/2009; Anne Merriman – Harvard University Talk; Woman's Hour, BBC Radio 4, 13/05/2011

Dr Paul Mullarkey, National Museum of Ireland conservator, talks about the Rare book shrine goes on display for the first time after 39 years of conservation

Send us a textThere is power in preserving the rich, diverse history and culture of LGBTQIA+ people, across generations and backgrounds, promoting creativity, collaboration, and community among queer people, organizations, and allies. Especially in this particular cultural moment, when the lives and stories of our queer community are being targeted and silenced more than ever before, we need to lift up and celebrate the institutions whose mission it is to collect, preserve, and share those stories and histories widely and proudly. Special Guest: Robert KestenRobert Kesten, Human Rights Advocate, is Executive Director of Stonewall National Museum Archives & Library, one of the world's largest and most significant institutions of its kind, celebrating 50+ years of preserving history and culture in the face of prejudice and hate. Kesten's human rights advocacy has taken many forms, including writing and producing an award winning documentary on the Holocaust at Concentration Camps in Poland, working on the Ghanaian Constitution, coordinating and producing events leading to Ukrainian independence, producing events for the first AIDS day treatment center in the nation, pushing for the decriminalization of homosexuality in Ukraine, challenging book banning, LGBTQIA+ inclusion in schools and navigating anti-LGBTQ sentiments. Kesten also worked on the West Bank during the Intifada and was brought into Egypt and Tunisia during the Arab Spring to try and establish human rights cities. Links from the Show:https://stonewall-museum.org/ https://www.inquirer.com/news/philadelphia/stonewall-queer-history-exhibit-drexel-20240407.html https://www.miamiherald.com/opinion/op-ed/article296353869.html https://washingtonpress.com/author/robertkesten/https://sfbwmag.com/human-rights-leaders-honored-during-international-human-rights-symposium-at-florida-atlantic-university/ https://www.heraldtribune.com/story/opinion/columns/your-voice/2023/04/14/lets-act-to-ensure-lgbtqia-are-safe-and-valued-in-florida-schools/70110517007/ Join Mama Dragons here: www.mamadragons.org In the Den is made possible by generous donors like you. Help us continue to deliver quality content by becoming a donor today at www.mamadragons.org. Support the showConnect with Mama Dragons:WebsiteInstagramFacebookDonate to this podcast

Join Correspondent Tom Wilmer for a Memorial Day special, recorded on-location at the National Museum of the Marine Corps, Triangle, Virginia

Slaget vid Lund den 4 december år 1676, mellan en svensk armé ledd av Karl XI mot en danska armé under Kristian V, brukar räknas som det blodigaste slaget i Nordens historia. Dagen efter slaget utgjorde markerna norr i om Lund en makaber syn. Döda soldater och hästar överallt. Många av soldaterna plundrade på sina kläder.Utgången av slaget brukar av många uppfattas som stunden då skånelandskapen räddades åt den svenska kronan. Danskarnas nederlag innebar i förlängningen att kriget kunde avslutas.I detta avsnitt av Militärhistoriepodden tar Martin Hårdstedt och Peter Bennesved sig an en riktig klassiker i svensk militärhistoria – slaget vid Lund 1676.Sverige hade åren för slaget blivit indraget i krig på kontinenten som ett led i rikets allians med Frankrike. Kriget på kontinenten gick inte så bra för Sverige. I detta läge passade Danmark 1675 på att förklara Sverige krig. Målet var att återta de 1658 förlorade skånelandskapen. Läget var gynnsamt. På Sveriges tron satt den oprövade unge Karl XI. I maj 1676 krossades den svenska flottan vid Ölands södra udde. En landstigning i Skåne genomfördes den 29 juni 1676.Den danska armén ockuperade snabbt Skåne och endast Malmö var kvar i svenska händer. På den svenska sidan var läget ansträngt. Armén hade misskötts under Karl XI:s förmyndarregering.Man funderade på två alternativ. Antingen drogs den svenska armén tillbaka och gick i vinterkvarter längre norrut. Fördelen var att styrkorna kunde byggas upp och goda förberedelser för ett fälttåg våren 1677 kunde göras. Nackdelen var att hela Skåne sannolikt skulle falla i danskarnas händer. Det andra alternativet var att stanna kvar med den numerärt underlägsna svenska armén i Skåne och spärra vägen för danskarna till Malmö.Det blev det sista alternative som genomfördes. Danskarna hade gått i vinterkvarter norr om Lund och den svenska armén gick även den i kvarter för att spärra vägen mot Malmö. Ganska snart insåg den svenska ledningen att armén höll på att tyna bort i de usla kvarteren. Beslut om att våga ett slag mot danskarna togs de första dagarna i december. Den 4 december marscherade den svenska armén mot det danska lägret. Slaget vid Lund hade inletts. Allt sattes på ett kort.Bild omslag: Karl XI under slaget vid Lund, målning av David Klöcker Ehrenstrahl från 1682. Kungen bär en loskinnsfodrad rock, gula älghudshandskar, hatt med en liten sädeskärve och rider på Brilliant. Tillskrivs: David Klöcker Ehrenstrahl - www.nationalmuseum.se, Wikipedia, public domain. Bild hemsida: Slaget vid Lund 1676. Konung Karl XI (1655-1697) slår sig igenom fientliga skvadroner. Målning av Johan Philip Lemke. I målningens mittparti synes Karl XI jämte Ascheberg och Dahlbegh spränga igenom de danska linjerna, dit de förirrat sig. Efter dem en ryttare i blå kappa. I förgrunden döda hästar och krigare. I mellanplanet på en öppen hed två svenska kavalleriformationer. I bakgrunden synes staden Lund, framför denna trupper uppställda i fyrkanter, och längst bort Öresund. Blå vinterhimmel med ljusa moln. Inom ramverket text över målningen. Nationalmuseum. Wikipedia, Public Domain Hosted on Acast. See acast.com/privacy for more information.

In this special Memorial Day episode of Big Blend Radio, we honor our nation's heroes and spotlight Military Appreciation Month with travel writer and editor Kris Grant. She shares the deep military and naval aviation history of Coronado, California, highlighting its connection to naval aviation, Navy SEAL training, and legendary figures like Glenn Curtiss. The conversation explores life on a naval base, the evolution of military aviation, and the cultural significance of Coronado—from the festive Independence Day Parade to the historic and famously haunted Hotel del Coronado. Kris also shares insights on other fascinating military history destinations, including: Dayton, Ohio – A hub of aviation heritage with the National Museum of the U.S. Air Force Hammondsport and Corning, New York – Home to the Glenn H. Curtiss Museum and the scenic Finger Lakes region

On this episode of Women on the Line we chat with Maxine Chi (Chai) who is a contributor to the Our Story: Aboriginal – Chinese people in Australia, an exhibition that has been curated by Zhou Xiaoping and held at the National Museum of Australia in Canberra until 27 January 2026. Maxine is a Bardi Aboriginal woman who has Chinese, Japanese and Scottish ancestry. She was born in Broome, Western Australia in 1954, a place which has a rich history of people from around the world, mainly Asia and Australia, coming to live and work in the pearling industry from the late 1890s. Maxine currently teaches the Graduate Certificate in Aboriginal Studies at Notre Dame University, Broome Campus, online and face to face with her students. She has worked in various government positions in State and Commonwealth Governments as well as the Kimberley Land Council, the Aboriginal Legal Service of WA (Inc), Department of Housing (WA) and is a member of the Bardi and Jawi Niimidiman Aboriginal Corporation the native title body for her countrymen and women. 

To celebrate 100 years of Calumet Farm, the famed racehorse breeder and (more recently) proprietor of delicious liquids, released a very special 18 year blend of their finest stocks in one of the most attractive decanters we've seen in modern whiskey. Calumet Farm has a history of Kentucky Derby, Belmont, Preakness, and Triple Crown winners, and has a staggering 11 horses in the National Museum of Racing and Hall of Fame. With all of those accolades, the bourbon has to be good, right? Well, you'll have to listen to hear what we think of this $499 bottle. In this episode, we're joined by a familiar special guest and you'll get to hear about Kenny's recent trip to Willett. As always, you'll get our honest take on this bourbon and we'll have a lot of fun in the process. Cheers. --------------------------SocialsIG: https://www.instagram.com/themashupkyFB: https://www.facebook.com/themashupkyTW: https://twitter.com/themashupkyPartnership(s)Visit Bourbonoutfitter.com and enter code THEMASHUP for a special discount or visit bourbonoutfitter.com/THEMASHUPVisit https://woodworkcollective.shop and enter code MASHUP for a 15% discount on your orderMusic: All the Fixings by Zachariah HickmanThank you so much for listening!

Chicago crime reporters descended upon Ruth and Carl Wanderer's Chicago home after the war hero's wife was shot dead in a holdup at their front door. Who was the Ragged Stranger who assaulted them? And why did he have Carl Wanderer's service weapon?Sources:Bigge, Lauren. “‘Shell Shock Treatments During World War I: A First Step Towards Modern Military Psychiatry.” National Museum of Health and Medicine. https://medicalmuseum.health.mil/index.cfm?p=media.news.article.2018.shell_shock_treatmentEghigian, Greg. “ The First World War and the Legacy of Shellshock.” Vol. 31, No. 4. Psychiatric Times. 28 February, 2018.Hecht, Ben. Charlie: The improbable Life & Times of Charles MacArthur (New York: Harper & Brothers, 1957).Lesy, Michael. Murder City: The Bloody History of Chicago in the Twenties (New York: W. W. Norton & Company, 2007)Murray, George in The Chicago Crime Book Ed. Albert Halper. (New York: The World Publishing Company, 1967).Nash, Jay Robert. Bloodletters and Badmen: A Narrative Encyclopedia of American Criminals from the Pilgrims to the Present (New York: M. Evans & Company, 1973).Schechter, Harold. Murderabilia: A History of Crime in 100 Objects (New York: Workman Publishing Co., 2023).As well as articles from the Washington Times, The Manning Times, Richmond TImes-dispatch, Chicago Tribune.And the Chicago Homicide database entry https://homicide.northwestern.edu/database/5270/Music: Credits to Holizna, Fesilyan Studios & Virginia Liston. Also featuring “It's a Long Way to Tipperary” by Jack Judge and “Old Pal” by Henry Burr.For more information, visit www.oldbloodpodcast.com

Février 1692. Sous les toits des MacDonald, des soldats du gouvernement partagent repas, chaleur et histoires avec leurs hôtes. Pendant deux semaines, les familles de Glencoe pratiquent l'hospitalité sacrée des Highlands, sans se douter qu'elles hébergent leurs futurs bourreaux. Cette deuxième partie du documentaire explore la période la plus troublante du massacre de Glencoe : ces quatorze jours où les soldats ont vécu en proximité avec leurs victimes, partageant leur quotidien, jouant avec leurs enfants, buvant leur whisky. Comment ces hommes ont-ils pu dissimuler leurs intentions ? Quels liens se sont tissés pendant cette cohabitation ? Et comment ont-ils réagi lorsque l'ordre d'exécuter leurs hôtes est finalement arrivé ?Pour approfondir vos connaissances, voici la bibliographie complète :- Dalrymple, John (Master of Stair). "Letters Concerning Highland Affairs, 1691-1692." Scottish Record Office, Edinburgh.- "Depositions of the Glencoe Investigation." Proceedings of the Scottish Parliament, 1695. Edinburgh: National Records of Scotland.- Hamilton, Lt. Colonel James. "Orders to Captain Robert Campbell of Glenlyon, February 12, 1692." National Archives of Scotland, GD112/1/144.- Hill, Colonel John. "Correspondence with the Privy Council, 1691-1692." Highland Papers, Volume I. Edinburgh: Scottish History Society.- "Report of the Commission of Inquiry into the Massacre of Glencoe, 1695." Acts of the Parliament of Scotland, Vol. IX.- Campsie, Alison. The Massacre of Glencoe: History, Context, and Representation. Edinburgh University Press, 2018.- Cheape, Hugh. Tartan: The Highland Habit. National Museums of Scotland, 2006.- Devine, T.M. The Scottish Nation: A Modern History. Penguin, 2012.- Hopkins, Paul. Glencoe and the End of the Highland War. John Donald Publishers, 1998.- Buchan, John. The Massacre of Glencoe. Spellmount, 1999. (Fiction historique)- Lee, Maurice. The Road to Revolution: Scotland Under Charles I, 1625-37. University of Illinois Press, 1985.- MacDonald, Donald J. Slaughter Under Trust: Glencoe 1692. Birlinn Ltd, 2005.- MacKenzie, W.C. The Highlands and Isles of Scotland: A Historical Survey. The Moray Press, 1949.- Prebble, John. Glencoe: The Story of the Massacre. Penguin Books, 1968.- Roberts, John L. Clan, King and Covenant: History of the Highland Clans from the Civil War to the Glencoe Massacre. Edinburgh University Press, 2000.- Szechi, Daniel. The Jacobites: Britain and Europe, 1688-1788. Manchester University Press, 2019.- Thomson, Oliver. The Great Feud: Campbells and MacDonalds. Sutton Publishing, 2000.- Kennedy, Allan. "Managing the Early-Modern Periphery: Highland Policy and the Highland Judicial Commissions, c. 1692-c. 1705." Scottish Historical Review, Vol. 96, No. 1, 2017, pp. 32-60.- Macinnes, Allan I. "Slaughter Under Trust: Clan Massacre and British State Formation." The Massacre in History, edited by Mark Levene and Penny Roberts, Berghahn Books, 1999, pp. 127-148.- Glencoe Archaeology Project. "Archaeological Survey of Settlement Patterns in Glencoe, 1500-1750." Historic Environment Scotland, 2013.- National Trust for Scotland. "Glencoe: Archaeological Findings 2008-2018." Conservation Report Series, Edinburgh.- BBC Scotland. "Blood of the Clans: The Massacre of Glencoe." Directed by John Bridcut, 2010.- National Trust for Scotland. "Glencoe: The Story." Visitor Center Documentary, Glencoe, 2015.- Scotland History Tours. “What They Don't Say About the Massacre of Glencoe.”- Scotland History Tours. “What Happened to Campbell After the Massacre of Glencoe”.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Dans ce troisième épisode bouleversant des "Montagnes Se Souviennent", nous assistons à l'ultime trahison lorsque des soldats violent le code sacré de l'hospitalité des Highlands. Pendant deux semaines, les soldats du gouvernement ont vécu sous les toits des MacDonald, partageant leur pain, leur whisky et leurs histoires. Puis vinrent les ordres d'Édimbourg qui transformèrent les hôtes en bourreaux. Revivez la terrible nuit du 12 février 1692, lorsque le capitaine Robert Campbell de Glenlyon reçut ses ordres, et l'aube fatidique du 13 février, quand les coups de mousquet brisèrent le silence hivernal. Cet épisode nous confronte à des questions intemporelles sur les choix moraux face à des ordres immoraux, alors que certains soldats prévinrent leurs hôtes tandis que d'autres accomplissaient leur sanglant devoir avec une précision mécanique.Pour approfondir vos connaissances, voici la bibliographie complète :- Dalrymple, John (Master of Stair). "Letters Concerning Highland Affairs, 1691-1692." Scottish Record Office, Edinburgh.- "Depositions of the Glencoe Investigation." Proceedings of the Scottish Parliament, 1695. Edinburgh: National Records of Scotland.- Hamilton, Lt. Colonel James. "Orders to Captain Robert Campbell of Glenlyon, February 12, 1692." National Archives of Scotland, GD112/1/144.- Hill, Colonel John. "Correspondence with the Privy Council, 1691-1692." Highland Papers, Volume I. Edinburgh: Scottish History Society.- "Report of the Commission of Inquiry into the Massacre of Glencoe, 1695." Acts of the Parliament of Scotland, Vol. IX.- Campsie, Alison. The Massacre of Glencoe: History, Context, and Representation. Edinburgh University Press, 2018.- Cheape, Hugh. Tartan: The Highland Habit. National Museums of Scotland, 2006.- Devine, T.M. The Scottish Nation: A Modern History. Penguin, 2012.- Hopkins, Paul. Glencoe and the End of the Highland War. John Donald Publishers, 1998.- Buchan, John. The Massacre of Glencoe. Spellmount, 1999. (Fiction historique)- Lee, Maurice. The Road to Revolution: Scotland Under Charles I, 1625-37. University of Illinois Press, 1985.- MacDonald, Donald J. Slaughter Under Trust: Glencoe 1692. Birlinn Ltd, 2005.- MacKenzie, W.C. The Highlands and Isles of Scotland: A Historical Survey. The Moray Press, 1949.- Prebble, John. Glencoe: The Story of the Massacre. Penguin Books, 1968.- Roberts, John L. Clan, King and Covenant: History of the Highland Clans from the Civil War to the Glencoe Massacre. Edinburgh University Press, 2000.- Szechi, Daniel. The Jacobites: Britain and Europe, 1688-1788. Manchester University Press, 2019.- Thomson, Oliver. The Great Feud: Campbells and MacDonalds. Sutton Publishing, 2000.- Kennedy, Allan. "Managing the Early-Modern Periphery: Highland Policy and the Highland Judicial Commissions, c. 1692-c. 1705." Scottish Historical Review, Vol. 96, No. 1, 2017, pp. 32-60.- Macinnes, Allan I. "Slaughter Under Trust: Clan Massacre and British State Formation." The Massacre in History, edited by Mark Levene and Penny Roberts, Berghahn Books, 1999, pp. 127-148.- Glencoe Archaeology Project. "Archaeological Survey of Settlement Patterns in Glencoe, 1500-1750." Historic Environment Scotland, 2013.- National Trust for Scotland. "Glencoe: Archaeological Findings 2008-2018." Conservation Report Series, Edinburgh.- BBC Scotland. "Blood of the Clans: The Massacre of Glencoe." Directed by John Bridcut, 2010.- National Trust for Scotland. "Glencoe: The Story." Visitor Center Documentary, Glencoe, 2015.- Scotland History Tours. “What They Don't Say About the Massacre of Glencoe.”- Scotland History Tours. “What Happened to Campbell After the Massacre of Glencoe”.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Dans cette première partie des Montagnes Se Souviennent, nous explorons la tempête politique qui a englouti l'Écosse suite à la Glorieuse Révolution. Alors que William d'Orange s'emparait du trône d'Angleterre en 1688, les clans des Highlands se retrouvent pions dans un dangereux jeu d'échecs européen.Voyagez à travers le réseau complexe de loyautés qui liait les chefs de clan au roi James en exil, alors qu'un nouvel ordre politique exige leur allégeance. Découvrez comment l'Écosse devient un échiquier où ambitions françaises, craintes anglaises et traditions des Highlands entrent en collision avec des conséquences mortelles.Cet épisode pose le décor de l'une des trahisons les plus notoires de l'histoire et explore les décisions fatidiques qui mèneront à la tragédie dans une vallée enneigée des Highlands.Pour approfondir vos connaissances, voici la bibliographie complète :- Dalrymple, John (Master of Stair). "Letters Concerning Highland Affairs, 1691-1692." Scottish Record Office, Edinburgh.- "Depositions of the Glencoe Investigation." Proceedings of the Scottish Parliament, 1695. Edinburgh: National Records of Scotland.- Hamilton, Lt. Colonel James. "Orders to Captain Robert Campbell of Glenlyon, February 12, 1692." National Archives of Scotland, GD112/1/144.- Hill, Colonel John. "Correspondence with the Privy Council, 1691-1692." Highland Papers, Volume I. Edinburgh: Scottish History Society.- "Report of the Commission of Inquiry into the Massacre of Glencoe, 1695." Acts of the Parliament of Scotland, Vol. IX.- Campsie, Alison. The Massacre of Glencoe: History, Context, and Representation. Edinburgh University Press, 2018.- Cheape, Hugh. Tartan: The Highland Habit. National Museums of Scotland, 2006.- Devine, T.M. The Scottish Nation: A Modern History. Penguin, 2012.- Hopkins, Paul. Glencoe and the End of the Highland War. John Donald Publishers, 1998.- Buchan, John. The Massacre of Glencoe. Spellmount, 1999. (Fiction historique)- Lee, Maurice. The Road to Revolution: Scotland Under Charles I, 1625-37. University of Illinois Press, 1985.- MacDonald, Donald J. Slaughter Under Trust: Glencoe 1692. Birlinn Ltd, 2005.- MacKenzie, W.C. The Highlands and Isles of Scotland: A Historical Survey. The Moray Press, 1949.- Prebble, John. Glencoe: The Story of the Massacre. Penguin Books, 1968.- Roberts, John L. Clan, King and Covenant: History of the Highland Clans from the Civil War to the Glencoe Massacre. Edinburgh University Press, 2000.- Szechi, Daniel. The Jacobites: Britain and Europe, 1688-1788. Manchester University Press, 2019.- Thomson, Oliver. The Great Feud: Campbells and MacDonalds. Sutton Publishing, 2000.- Kennedy, Allan. "Managing the Early-Modern Periphery: Highland Policy and the Highland Judicial Commissions, c. 1692-c. 1705." Scottish Historical Review, Vol. 96, No. 1, 2017, pp. 32-60.- Macinnes, Allan I. "Slaughter Under Trust: Clan Massacre and British State Formation." The Massacre in History, edited by Mark Levene and Penny Roberts, Berghahn Books, 1999, pp. 127-148.- Glencoe Archaeology Project. "Archaeological Survey of Settlement Patterns in Glencoe, 1500-1750." Historic Environment Scotland, 2013.- National Trust for Scotland. "Glencoe: Archaeological Findings 2008-2018." Conservation Report Series, Edinburgh.- BBC Scotland. "Blood of the Clans: The Massacre of Glencoe." Directed by John Bridcut, 2010.- National Trust for Scotland. "Glencoe: The Story." Visitor Center Documentary, Glencoe, 2015.- Scotland History Tours. “What They Don't Say About the Massacre of Glencoe.” - Scotland History Tours. “What Happened to Campbell After the Massacre of Glencoe”.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Send us a textCatching up with friends of the show, Melissa Winn & Dana Shoaf at the National Museum of Civil War Medicine! It's been a few years since their last appearances on the show, but they are back and with HUGE updates on the various historical projects they have been working on and some exciting looks ahead at what's in store for one of the coolest museums around! 

This week on Everything You Didn't Know About Herbalism, we are joined by the profoundly talented ecology illustrator and lifelong lover of nature, Emily Poole. Emily's love for the natural world shines evidently through her artwork, which combines whimsical and educational elements that highlight the intentionality behind every corner of her illustrations. Tag along with Emily and Tommy as they explore Emily's journey into becoming a natural history illustrator and why ecology illustrations play an important role towards the conservation of our planet. As always, we thank you for joining us on another botanical adventure and are honored to have you tag along with us on this ride. Remember, we want to hear from you! Your questions, ideas, and who you want to hear from are invaluable to our podcast. Email us at podcast@mountainroseherbs.com to let us know what solutions we should uncover next within the vast world of herbalism.  

5.6.2025 #RolandMartinUnfiltered: Trump dismantles NMAAHC, Rep. Crockett RIPS GOP Black history attack, EPA nixes Energy Star program The Trump administration's plan to dismantle key Smithsonian museums, including the National Museum of African American History and Culture, is sparking outrage. Congresswoman Ayanna Pressley will join us live to discuss this fight to protect America's stories. Texas Congrsswoman Jasmine Crockett gets in the GOPs ass about they are coming after black history, Medicaid and jobs. You don't want to miss tonight's Crocket Chronicles. The Pentagon orders deep cuts to top military brass. We'll examine what this means for our national security. The EPA moves to eliminate the Energy Star program, threatening energy savings for millions of Americans. The late Chuck Stone, a trailblazing journalist and educator, was awarded a special Pulitzer Prize. #BlackStarNetwork partner: Fanbasehttps://www.startengine.com/offering/fanbase This Reg A+ offering is made available through StartEngine Primary, LLC, member FINRA/SIPC. This investment is speculative, illiquid, and involves a high degree of risk, including the possible loss of your entire investment. You should read the Offering Circular (https://bit.ly/3VDPKjD) and Risks (https://bit.ly/3ZQzHl0) related to this offering before investing. Download the Black Star Network app at http://www.blackstarnetwork.com! We're on iOS, AppleTV, Android, AndroidTV, Roku, FireTV, XBox and SamsungTV. The #BlackStarNetwork is a news reporting platform covered under Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research.See omnystudio.com/listener for privacy information.

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 21st May 2025. The winner will be contacted via Bluesky. Show references: Museum Wales website: https://museum.wales/Big Pit National Coal Museum: https://museum.wales/bigpit/Catherine Pinkerton LinkedIn: https://www.linkedin.com/in/catherine-pinkerton-b1905a110/Catherine Pinkerton is the Group Retail Manager at Amgueddfa Cymru - Museum Wales.Having worked in senior management positions for some of the high street's most recognisable brands such as Harrods, Selfridges, Dior and Guerlain to name but a few, Catherine spent 20+ years in London building her management career. Catherine is now the Group Retail Manager for Amgueddfa Cymru (Museum Wales). She is responsible for the management of all aspects of retail operations and development, across the national museums of Wales. Catherine is currently leading on a transformation project to create immersive retail experiences in each of the museum shops, reflecting the visitor experience and collections of each of the varied museums.Guests Also Featured in This Episode:Anya Kirkby, Freelancer - Anya Kirkby Ltd – Product Development and Graphic Design anyakirkby@gmail.comArantxa Garcia, Freelancer - Exibeo VM Creative Studio – Shop Design and Visual Merchandising Arantxa@exhibeovm.co.ukNia Elias, Director Relationships and Funding, Amgueddfa Cymru nia.elias@museumwales.ac.ukGuy Veale, Freelancer – Freelancer - Sound artist/designer - gbveale@gmail.comAmy Samways, Shop Supervisor, Amgueddfa Cymru - amy.samways@museumwales.ac.ukKate Eden, Chair, Amgueddfa Cymru - Members of Board | Museum Wales Transcriptions: Paul Marden: Welcome to Skip the Queue. I'm your host, Paul Marden. So today you join me on the top of a mountain in Blaenavon in Wales at Big Pit, the National Mining Museum. I'm here today for a really special event. I've been invited to the opening of Big Pit's new Museum Retail experience, which is a programme of work that's being done by the Museums Wales Group to improve the sense of place and the sense of feeling for what could be a blueprint for the rest of the group. We're going to be joined by a number of different people that have taken part in the project and without further ado, let's get started on our tour of Big Pit. Catherine Pinkerton: Morning, everybody. Hello, welcome. It is my absolute pleasure to welcome you all today and I know there's been a lot of you'd have travelled far and wide, so thank you so much for your time. I really appreciate you coming to see the amazing store that we've created and I hope you love it. We're just going to cut the river now. Paul Marden: First up I've got Catherine Pinkerton, Group Head of Retail at Museum Wales. Catherine, welcome to Skip the Queue. Catherine Pinkerton: Thank you very much. Thank you so much for having me. Paul Marden: Absolute pleasure. And this is a corker of an episode. I think everybody is going to be really interested in finding out about the retail, the gift shop experience that you guys have introduced at Big Pit and then you're going to go wider into. Into Museums Wales. This is a really weird episode because you and I are recording the morning after the day before. So yesterday was the big launch event and I was with you at Big Pit and I've met lots and lots of people and we're going to cut to them throughout the episode and hear from those people that were taking part in the project. But you and I have got the benefit of having enjoyed yester today's event and we can look back on what that experience was like and talk a little bit about the project. Paul Marden: Before we do that, I think it would be really lovely for you to introduce yourself and tell us a little bit about Museums Wales and Big Pit specifically. Catherine Pinkerton: Absolutely. Okay. So I'm Catherine Pinkerton. So I head up all of the retail stores within Amgueddfa Cymru, which is National Museums of Wales. I've been with the museum just under three years and I'm good that Cymru hosts seven sites. It's an incredible establishment to be part of and I think, you know, coming from a very commercial background, this is very different for me, but I think it's given me lots of insights into bringing kind of. Lots of. Kind of different skill sets, I guess, to this cultural sector. I think when I first initially joined Amgueddfa Cymru, there were lots of challenges. And that's not to say that we still have those challenges as they are in many of our museums. And I think coming from a retail background, it's. It's looking at something that's not. That's commercial, Paul.Catherine Pinkerton: That's key. But actually, how can we make it very collection and story based on our amazing assets that we hold within our museums? And I think that I felt was probably the biggest thing that was missing because I thought we've got these amazing exhibitions, these amazing collections, amazing, you know, opportunities, and how are we putting that into the retail structure and how do we offer that to us, you know, to our visitors? And I think. I think sometimes it may be. Have forgotten that you go around these amazing spaces and it's very based on that visitor focus and how can we make that visitor feel very happy and engaged. But actually the end part of that process is nearly always coming through, exiting through the retail space. Right. Catherine Pinkerton: And if they've had this amazing opportunity to go and, you know, a lot of investment in these amazing spaces, and then they come through that retail space which has some elements, but not all of what our collections hold, there's a confusion there. You know, that end piece. And for me, customer service and visitor experience is absolutely key to how they. How they finish and how they end their day. And if they're ending their day with something, oh, okay, I'll just have a magnet then. Because there's nothing really else here. Yeah, that pains me. That really hurts me. I think, come on, guys, we can do better than this. We are in an element of. We have our own assets, our own elements to be able to kind of display that. Catherine Pinkerton:  And I think very much it would be very easy and to take the kind of easy road of having, you know, let's. Let's pop a dragon on a mug and yeah, we're a Welsh museum. No, we're not. We have assets here. We have beautiful exhibitions, we have beautiful spaces. And actually looking from further afield into. In terms of an emotional connection. And I think, you know, for me, from all of my past kind of previous work, I'm working with Amgueddfa Cymru. It's probably been the most challenging to get perhaps senior management to understand a crazy way of Catherine Pinkerton working into a. What's emotional retail? What does emotive selling mean? This lady is crazy. What's she talking about? But actually, it's really basic, isn't it? Catherine Pinkerton: Because for me, if I take my daughter or my husband to any kind of day trip, I want to take something emotional that I've connected with home with me, and that's so simple. But actually, sometimes it's not thought about in that way. And, you know, for me, I'm all about the emotional connection. And I think we put so much investment in curatorial teams to kind of give that to our visitors. We need to end that. That end part is so important for them to finish, you know, that journey with that emotional connection that they can take home as a souvenir. So, yeah, I've probably said more than I needed to there, Paul, but.Paul Marden: Absolutely. So I think you're capturing the need to curate the. The ending experience because, you know, the nature of. The nature of people's memory is they remember the beginning and they remember the end and the bit that is in the middle is hugely important to the storytelling experience they have whilst they're at the attraction. But if you don't end on a high, then their emotional connection to you and the space and the stories they've heard is not going to be as impactful for them. Catherine Pinkerton:  Absolutely, totally agree. I think it's really key, and not just in the kind of, you know, the cultural sector, but in any sector, really. I think it's really important that connection is instant, really, because that is what you need to. That's the hook, isn't it, of getting that person, you know, and. And actually understanding what the visitor needs. I mean, it's very easy for me to say on a personal level, I'd love to have this collection of products within the shop, but actually, that's not what data tells us. That's not what our demographic tells know, you know. And they are the ones that are important. Our local communities, our demographic is key for us to be successful. Paul Marden: You know, so one of the things that I took from yesterday was the importance that you were moving away from being just any other generic Welsh gift shop to being a gift shop associated with the place. Yeah, that. That's the. That was the nub of I think, what you were trying to get to how do you go about doing that? How did you make it feel so much like a gift shop? About Big Pit? Catherine Pinkerton: It's taken a process of really pulling everything back and getting under the skin, what is the detail and the personality of the site. But actually it's talking to people and being humour. And Paul, you know, I think, very much, as I say, it'd be very ignorant for me to say this is what I think will work. And that's absolutely not what we want. What we want is for the visitors to say, I really. I mean, what was really interesting, actually, is that we did quite a lot of data analysis in terms of the demographics of customers that come through our sites. But also what was really key is areas of the sites that were really kind of, you know, three key areas that they really enjoyed or they really loved. Catherine Pinkerton:  And actually, one of the top ones was the pit ponies that they all love the pit ponies, they love talking about it, they love the stories that the mining team would talk about. It was a really inspiring, you know, inspirational moment for them to think, oh, my gosh, the pit ponies lived underground. This is really so, you know, I think in some respects that was probably missed in terms of our retail offer, because what we did after that is that we had a workshop with all our retail team and we almost did a little bit like a Dragon's Den effect. We said, right, these are the products that we have, right? Can you pick up out of these products, which products represent the pit ponies? Which products represent the shower rooms? Catherine Pinkerton: And actually, when you're talking to the teams in kind of a literal sense, there wasn't a lot within our retail offer that we already had. And I think it was a bit of a light bulb moment, really, for the retail team and said, “Oh, Kath. Right, I see, Yeah, I understand what you mean.” That's not represented in our retail offer. So what's represented currently was wonderful things and lots of Welsh kind of products. But actually, what. What makes that relatable to our site? And so I think what I wanted to do originally is just go on a journey and to kind of really, from a very basic stage, is understand what the site's POS was and actually understand what their personality was and what the curatorial team were trying to push forward as being their identity. Catherine Pinkerton:  And I think once we got the identity, we then broke that down into themes in terms of there's pit ponies. That's a huge part of the, you know, the exhibition. The other huge part of the exhibition were the canaries. So, you know, that was something that was talked about. There's a huge story around that. And then, you know, the kind of mining history and the community was massive. And actually that element was so important to me and the retail team to make sure that we got right. Because this is history, right? And this is. I come from both my grandparents were miners. So for me it was very much a, you know, a very emotional time for me to make sure that we got it right and that it was respectfully done. Catherine Pinkerton:  So that was really key in terms of how do we deliver this. That's really. That we are not stepping on people's toes. We're not profiting from something that was, you know, the strike range is very significant within what we've offered, but we really wanted to make sure that was respectful and that it was done in a tasteful way that people felt they could take a souvenir away, but know that was actually part of the exhibition. So it was those kind of areas that we really wanted to work. So once we have those themes in place in terms of what those looked like, it was then developing that and how do we develop that into an actual concept? Paul Marden: Yeah, and you've drawn in lots of people. You've already mentioned the kind of wide team that you brought in from Big Pit itself, but from the wider team in the group. Talk a little bit about what that experience has been like as a team. Who have you brought into this? Catherine Pinkerton:  So originally, when we wrote the retail concept and the retail strategy, you obviously have to kind of involve quite a lot of internal candidates to be able to allow them to believe that this journey and vision is a good one. And I'm super thankful. I've got the most amazing manager, Marc Simcox. He's the head of enterprises and he is incredible. He's very commercial, but very trusting in terms of understanding what the business should look like and actually giving that freedom to say, yeah, I think this can work. Kath. So you, you go ahead and that. That's huge. Right. We're not talking about a small project here. So that firstly was great for me. And then I think having the, you know, the opportunity to be able to get some key people. Catherine Pinkerton: And Matthew Henderson we've worked with previously and we've, you know, I knew straight away, for me, Matthew Henderson has gotten. Got a very unique way of working and we work very well together. We've got quite similar kind of ways of working, but I think that development and concept phase is really key and I think it really got to the point where we just sat in a room and kind of really understood what are we trying to achieve here, how can we achieve that? And really just making it very basic in terms of the key themes. And then in terms of product development, we brought on Anya Kirkby. So she is an illustrator and a very clever lady indeed. And we have worked with lots of illustrators and lots of suppliers over the years. Catherine Pinkerton: But what we wanted something for Big Pit was to be quite different in terms of the illustration and the product development. Because what we wanted to deliver with Big Pit was something that had been my vision since the very beginning when I started with Amgueddfa Cymru. And that is, you know, going into the shop and having those guidelines, you know, pricing guidelines, information guidelines, those small details which would probably mean nothing to the average person walking through, but actually a price ticket on something that's been illustrated pains me to see, because the work that's gone on behind that is so key. Catherine Pinkerton: And, you know, for most people not understanding that a price ticket on that is so I think those details are really key, Paul, and I think she really worked stringently with me to make sure that was, was, that was kind of a massive aspect of that role. And then Arantxa Garcia, who is just the most incredible designer. She's, she's a genius in what she does. She's incredibly creative and sometimes you have to kind of pull her back and say, okay, you want this? Okay, can you deliver this rancher? Paul Marden: Yeah. Catherine Pinkerton: And what was really interesting with a rancher is that, you know, she's got a huge, amazing CV of working with lots of people within the cultural sector and designing amazing, incredible pieces. But I think were very nervous because the, the original kind of renders that she sent through to us were quite amazing and impressive. And I said, arantha, are you able to deliver this under the kind of, you know, the budget? We've got a tight budget here. Paul Marden: That's the challenge, isn't it? Catherine Pinkerton: I mean, isn't it? Paul Marden: You do not want to be paying, you don't want to be offered the picture of a Maserati when you have got a Ford Fiesta budget, do you need to know that you can afford it. Catherine Pinkerton: Absolutely. And I think with Aranta, she was very, again, super creative lady. And I think I, as soon as I saw that image, I did say to her, right, you need to deliver this now. You've, you've committed to it, Arantia, so this needs to happen. And then finally, Richard Evans, who has, is hugely respected in the cultural sector and he really supported in terms of project management and the, you know, I hate to say this, and you won't mind me saying this, but the kind of boring kind of financial Gantt charts and keeping me in line actually. Right, Cath, we haven't got a budget for that. You can't spend that. Come on, Richard, make it work. Move some things around, you know. Catherine Pinkerton: So I think that was kind of the main area and then internally, Tracy Lucas, who was kind of my right hand woman, is our operations manager within Amgueddfa Cymru and she really supported me along with Amy, the shop manager, shop supervisor to really look at the product development. So I think, you know, and I think it was really nice actually to have them on board because I think it gave an opportunity for them to see what could be. And I think, you know, definitely in terms of retail, it's been an opportunity for us to be able to say, look, this, the impossible can be possible. Catherine Pinkerton: Actually this is an amazing project and I think what was really incredible is that when we decided to work on Big Pit, the Big Pit team and all of the mining team actually just came on board, Paul, they took it on board and I think the reason why they did that is that one of the mining teams said to me, he said, kath, you know, we never get any funding here. It's always in this big cities, you know, we, the Cardiff and it's never here, you know, we're just in the middle of nowhere. And I was like, absolutely not. That is not what this is about. It's about, you know, making sure that the community in that area is solid. Catherine Pinkerton: And I think the mining industry and they're very proud of that in terms of who works there, they're incredibly proud of what they do. And so because we chose that as our first project, they were so helpful in terms of, yeah, we're going to make this work, let's make it a success. Cath, how can we do that? What do you need from me? I mean at one point we had two of the mining staff pulling one of the drums which we upcycled out of it was like a lake or, yeah, I suppose a lake with a tractor. And I was like, this is crazy. This is crazy but just amazing that these team members are willing to do above and beyond to kind of go and help and support.Catherine Pinkerton: Dwayne Smith, finally I have to mention him because he went above and beyond. He, he's an electrical engineer for Amgueddfa Cymru and no feat was kind of Too hard for him. He helped us massively. He's got a huge team of people and anything that we needed done, I'm not, you know, I'm not a trades person, so anything Trady. I was like, Dwayne, yeah, I'm on it, Kath, I'll do it. Which is great because I was like, okay, yes, that was massively helpful, but huge learning curve, Paul. I feel I've never been so excited about drums in my entire working career as I am now. Paul Marden: And I never heard of one until yesterday. But what I found interesting was you see them all the way through the underground experience. I went down in the. The cage to the bottom of the pit head, did the whole tour. You talk about these drams and the importance of them and the transportation of the coal from throughout the mine back up to the top. And then you walk into the shop and it's subtle. The way that you've blended the museum into the shop is a subtle experience. It doesn't feel, it doesn't feel crude. But you've got a dram in the middle of the workshop. Now, I know it's a real one because we talked about it yesterday and I know the pains that you went through, but it's very subtle placed in there so that it doesn't feel crude. Paul Marden: It doesn't feel like you're trying to overwork the metaphor of the mine in the shop. It's very cleverly done. Catherine Pinkerton:  Oh, that's great, great, great to hear. Because that's absolutely what we did not want. And I think in terms of visual merchandising, actually, and picking up on your point there, is that it's very easy for us and this is something that we're doing in a different shop. It's very easy for us to look at some of our assets and pop them on a tote bag and say, there you go, that's done, we'll sell that. But actually, no, what can we do that's different? That's more kind of innovative? That's more creative. That is a hint or perhaps an opportunity for us to show and display something that is. Is then part of the visitors question. So when they're coming into store and they're speaking to our retail teams, they're questioning, is this a real drum? Catherine Pinkerton:  You know, and that is a conversation opener, isn't it? You know, and I think Kerry Thompson, who is the curator for Big Pit, he's a really inspiring man. I could listen to him all day. And he told me lots about kind of the drums and the history of Big Pit and the strikes. He's such an interesting man, but I think having the inspiration from him allowed us to make sure that we did it not in a crude way, actually, Paul, but that it was representative of the site, but not in a way that's, I guess, too obvious, you know. Paul Marden: Look, Kath, we could carry on talking for ages, but let's cut at this point to hear about some of the voices from the team that you worked with, your internal team, some of the partners that you worked with, about the experiences that they've had on the project. Paul Marden: So let's hear from some of the internal team members involved in the project. Firstly, we have Amy Samways, the retail supervisor at Big Pit, followed by Kate Eden, the chair of Museum Wales. And lastly, Nia Elias, the Director of Relationships and Funding at the Museum of Wales. Hey, Amy, how you doing? Lovely to meet you. What's your role at the museum, Amy? Amy Samways: I'm the shop supervisor for Big Pit. Paul Marden: What have you been doing in this whole project? I guess you've been integral to the whole kind of making it all about the place. Amy Samways: Yeah, so I've worked with Anya, who did all the products for the new shop. So we walked around all the exhibitions. We did a lot of underground visits and a lot of museum visits and just put things together. I've done a lot of work before this project for the last two years to try and get things more relevant to us and not just a Welsh souvenir shop. So a lot of those products stayed and then we just expanded them then. Paul Marden: So how do you go about looking for those products that make it local to here? Amy Samways: Well, we've got a fantastic exhibition at the top of the hill. We've got obviously our ex miners and we also have a lot of events through the times as well. So this year was a lot about the strike because obviously it's the 40th anniversary and we've got a massive exhibition down in Cardiff and also there's a smaller one up year as well. So we just walked through the museum and obviously, you know that disasters are obviously a big issue. We didn't want to make a big issue about those, but obviously they need. They're part of history, aren't they? So more books. We made sure we had books around that. And as you walk through, there's a lot of signs that the staff liked as well, because a lot of our guys have been done about the new projects with those as well on. Paul Marden: So do you then go looking for local suppliers to help you with that? And where do you find those? Amy Samways: Etsy, Facebook. Paul Marden: Oh, really? Amy Samways: Yeah, a lot of them. And also online. And then we've also. Because we work with a lot of suppliers as well, I'll say we need this and then they'll say, oh, you should ask so and so, and then we'll go and ask both. Paul Marden: Brilliant. So one of the things that's really interested me this year is talking to people that are running museum retail and that kind of process that goes from you as a buyer, having an idea, what do you want? How do you stock the shop? I think is really interesting process to go through, but flip it on the other side, as a local creator, you've got your thing and you want it in the shop. How do you get it found? Well, yeah, sticking it on Etsy is something that they're going to do, but then that might help them get into the museum. Amy Samways: Even if there is something that we want. Like at the minute, we're looking for NCB soap. Paul Marden: For what? Amy Samways: NCB soap. Paul Marden: What's that? Amy Samways: It's either bright green or bright pink and they used to buy it in the canteen shop and it's just imprinted with NCB. The guides have been asking and asking for it, but we have actually found a supplier now who's going to be working on it. So that should be coming this summer. Paul Marden: Wowzers. Amy Samways: Yeah. That's really exciting for you. Paul Marden:  What was the highlight? What's the one thing about this space, about the whole experience of the project. Amy Samways: That jumps out for me is seeing all the stock we've worked on and somebody actually buying it. Paul Marden:  And what is it that people are picking up? What are they walking in and gravitating to? Amy Samways: Anything Big pet, really. The little enamel little mugs have gone really well. I think the wording on those are great because it says they must not be removed from the premises. So our guides are loving those. And also our retro sign, which we had for our 40th anniversary and three years ago, but we kept it because it's such a brilliant design. It was the original from 1983 and it was on the original road sign as you drove in. So we've had that recreated and that sells really well. Paul Marden:  That's really interesting. So my wife with the family about 25, 30 years ago, came on a family holiday and they had the original guidebook that they picked up when they were here with the kind of the retro. Retro signage on there. Amy Samways: Yeah, we're back selling it again. Kate Eden: Yes, So my name's Kate Eden. I'm chair of the board of Amgueddfa Cymru. Paul Marden:  Tell me a little bit about your involvement in this project. Kate Eden:  As the board, we've been tracking the development of commercial and enterprises over the past year. Really. And really thrown our way, weight and support behind what the team has been trying to do here as a kind of flagship, really, for what we would all like the new benchmark to be across all of the seven sites of anger for Cymru. So seeing it all come together this morning has just been such a special experience. It's absolutely fantastic. I'm going to bring the rest of the board here as soon as I can so the trustees can see this and see the reaction of staff and of visitors as well, because it's a fabulous achievement and it shows us what we can do now as a national museum. Paul Marden: How well does it tie back into the original pitch at trustees? So I'm a trustee of a charity as well. The pressures that we're all under in terms of reducing funding and having to generate our own funding is so hugely important. This must be integral to the conversations that you were having as trustees. Did you have this in mind when you were signing off the agreement to spend the money? Kate Eden: Yeah. So I don't think anybody realised just how successful this could be. We'd had some mock ups and we'd had a presentation, so there was a lot of excitement and there was sort of the fledgling idea years. So we've got a sense of what it could be. But I think importantly for us, it's about that marriage of financial sustainability because it's got to wash its face, it's got to provide a working profit that can go back into the running of Big Pit here.Kate Eden: But it's got to be authentic to this place. It can't be the add on the visitor should shop that you walk through at the end. And it's a bit of a tedious thing to get back to the car park. It's got to be an integral part of the whole visitor experience in this place. And I think that's what they've achieved. Paul Marden: It's so impressive. So impressive. You know, just the structure that they've built to give you the impression of the mine in a really subtle way. The product that they've chosen, the way that they've laid out that, the shop is amazing. I think they've done an amazing job. Kate Eden: That's it. I mean, this is my local site. Paul Marden: Okay. Kate Eden: I live about three miles over the mountain there. So I bring my friends and family here. This is our go to place when I've got visitors. And I think just the way they've opened up the room, they've removed the barriers, which is really important. It's a small thing, but really important so that people feel welcome. They can walk in or they can walk ground. Paul Marden: Yep. Kate Eden: And it's. And it just feels a little bit more inclusive. It feels a bit more kind of, you know, we're here, it's easy to come and see us, you know, and spend time and then spend a little. Paul Marden: A little bit of money. Yeah. So where do we go from here as trustees? Are you fully behind rolling this out now? Kate Eden: Yeah, I mean, I think now that we've seen what we can do and the type of data that's coming through from sales, this is now the new. This is the bar. Paul Marden: Oh. So it has made a discernible difference to say. Kate Eden: So early data from Easter is really promising. Yeah. So this is the benchmark now from all of the other sites. Nia Elias: Hi, Paul. Hi, I'm Nia. Paul Marden: Lovely to meet you. Tell me about your role at the museum. Nia Elias: I am Director of Relationships and Funding. It basically means I get to work with all of the teams across the museum that work on the reputation, the reach, but also the revenue of this wonderful charity and national museum that we are. Because as well as getting funding from Welsh government, we raise our own income so it can be invested.Paul Marden: What sort of split? Nia Elias: What sort of split? So the majority of the money that comes to us does come from Welsh government because we're a public service, we're here free of charge for the people of Wales and we look after the national collection, which is over 5 million items across seven museums and a collection centre. Nia Elias: But there's a proportion then of money that we raise ourselves about sort of 30%, which is from our cafes and our car parks and the experiences that people have, and most importantly, our shops. Paul Marden:  So what was the inspiration for this project? Why kick off a strategy project around the whole retail experience? Nia Elias:  Well, this whole project, in essence started three and a half years ago when the museum decided that it would bring a strategy together for all of its self generated income. So that means our philanthropic income generation and through our enterprise, including our retail. And from a retail perspective, we knew that what we wanted to achieve with all of the money that we raise ourselves is that it's really rooted in the collection, because we have an amazing collection. It tells the story of Wales and it's owned by the people of Wales. Paul Marden: Right. Nia Elias: And from a retail perspective, we knew if people could engage with that and could take away something from the wonderful experience that they've had on site, that it would be something that they would want and it would make it unique that it's only possible to have here. Developing a project like this is quite challenging. You need the time, you need the teams and expertise, some of which are on your permanent team, some of which are naturally not. And also you need investment. And so by starting the thinking and the route of where we wanted to get to three and a half years ago, it meant when we had the funding and the opportunity to do so here at Big Pit, we knew exactly what to do. Paul Marden: Okay, so you. You put all of those pieces together and then came here and did the first cookie cutter stamp. But what's interesting is it's not a cookie cutter stamp, is it? This totally feels like the gift shop for this museum, doesn't it?. Nia Elias:  Yeah. So we feel really strongly that we wanted the balance of knowing that you're at a National Museum Wales site, knowing that you're somewhere unique, but equally that it has a sense of a place. Because all of our seven museums together tell the holistic story of Wales, but you really get a sense of personality on all of those sites, not just from the collection and the buildings and the items, but also from the colleagues that work here as well. Paul Marden: Right. Nia Elias: They're very much a part of that in terms of the stories that they tell, their lived experiences, and we had a sense of responsibility and fun to bring that through in the shop. Not just the ambiance, but also the products themselves, so much of them, the majority of them actually, are grounded in being inspired by the collection in some way, and also has a really strong Welsh and local profit as well. What we think that will come through to our customers and visitors and guests is that because we've worked across all of the teams in the museum, so curators and people who care for the collection, our colleagues here at Big Pit, many of whom are former miners, and our colleagues front of house, it means that everybody will be able to speak about the product. Nia Elias: So as you're walking around picking things up, imagining them in your home or as gifts, our colleagues can talk about what they mean to the place. And that brings something additional that you can't really buy. Paul Marden: Yeah. There's a story to it. There's a background to it that roots it. Yeah. Lovely. For you, what's the standout experience from the whole project? What have you enjoyed the most? Nia Elias: Two things I think in terms of the way that it's been done, the fact that so many teams have worked together behind the scenes to make it happen. That means that as we want to change things or tweak things or improve things, we'll have all of the knowledge and expertise already baked in, especially learning from other suppliers who've come along and helped us. So we've got that baked in now, which is really exciting. And the second thing is that I can stand here knowing that this is the standard of a national museum that our guests and visitors expect and want to see. Paul Marden: And now let's hear from a few of the external partners that Kath brought into the project. Arantxa Garcia was the shop designer and visual merchandiser. Anya Kirkby was responsible for product development. And Guy Veal was responsible for sound design. Tell me about your involvement in the project. Arantxa Garcia: Sure. So I'm the shop designer and visual merchandiser. It's a freelance role, so. So I worked with the team, Matthew, Richard, Anne and Guy. Paul Marden: Excellent. Arantxa Garcia: So we kind of all came as part of a team and each one of us looked after different areas of the project. And my involvement was to kind of reinvent and reimagine what was already here. And the idea was to create a space that was connected to the experience and to the site itself. So we've basically ripped the space apart. We've kind of kept the structure, obviously, but we've opened up the space as well. Before the shop, it would be very separate. You'd have admissions and then you have the shop area, which meant that you were only really accessing the shop if you came to visit the site. But as a local, you wouldn't be able to come, for example. Or you could, but maybe not in such an open way. Paul Marden: Yeah, you wouldn't feel welcome. Arantxa Garcia: Exactly, exactly. You may not want to just because you didn't know, whereas now you can just come in and basically hang around and also browse the shop. Exactly. We took inspiration from life underground, from the mine itself. So before the building was white, the units were white, so it could be a shop anywhere. You know, it didn't really have a DNA, so to speak, or an identity that related it directly to the site. So when visiting down to the underground and King Call as well, the exhibition that we've got just up the hill, we took inspiration from basically sort of like the. The cladding that you've got on the walls. Cladding is not the right word. So if one of the miners hears me saying that, they'll be. Arantxa Garcia: That's not the word that we told you, but the idea is that all the materiality that we're using, it's really evocative of. Of the site and it's the materials that have been used underground. So even, like the safety lamps, they'll set authentic safety lamps. And the team on site, Dwayne Smith, has electrified them. So it means that now they work, obviously, as a normal light, but it's a safety. Paul Marden: But they are the original safety. Arantxa Garcia: They are the original safety. Paul Marden: Wowsers. And what about these styles? Arantxa Garcia: So, yes, I always like going for a hunt on the side. So basically the team took me to different rooms and we just found stuff, if you like. So they're like the pressure gauges, you know, we're gonna use them just to add, again, like, references to the site and the authenticity, of course. So you also find loads of tools that would have been used underground as well. Paul Marden: I would imagine that this has been a really enjoyable project for you. I can see it on your face, how much you've enjoyed it. Arantxa Garcia: It has. And I think for designers, sometimes there's projects that take a bit longer to emerge and you keep changing things because you just don't feel probably quite right. There's something. But with this one, it kind of. After the site visit, it was just. Paul Marden: I clicked immediately.Arantxa Garcia: It just clicked immediately. So we darkened the wall. So we've kind of given that sort of grey background just to kind of creating more of like a cosy and shrinking the space. Paul Marden: But you. It pops the orange. Arantxa Garcia: Exactly. And the orange is everywhere. So, like, we've also changed the lighting, so it's a lot warmer. So again, that hint of orange. Yeah, orange on the back, orange on the miners on here. And then it comes also from the products. So the identity is there, but without going fully corporate, if that makes sense. That's the colour that you remember, isn't it? You've just been on the ground. All our guides and miners wear the orange overalls and the sort of, like the blue jackets over it, whether it's a donkey jacket in the winter or then they wear the soft shells as well. So, yeah, it's all those details, like those hints to the experience that kind of are embedded in the design. And these are regional as well. The drums are regional, all the flatbeds. Arantxa Garcia:  So the team here took the metal sides off and then sort of like left the skeleton of the drum, varnished it. And then our shop fitters aren't here. They did all the sort of the cladding using reclaimed scaffolding boards. But the original Drums would have been made out of wood. Paul Marden: Beautiful. It's so tactile, isn't it? Arantxa Garcia:  It's tactile. Again, we're looking at the DNA all the time. And shops can be more than just shops. Shops can tell stories. You just connect with it in a very different way. And just having the time the team on site involved has been absolutely incredible. Like the sense of pride and belonging and provenance that this kind of has awakened, it's been great. It's your job done really as a designer. When you just feel like everyone owns it, that's your job, that's when you can walk away. Paul Marden: What an amazing testimonial for you and the work that everyone feels like that. Anya, lovely to meet you. Tell me, what was your involvement in the project? Anya Kirkby: So I mainly focused on product development. So we looked at where we could get inspiration from the site and how we could translate that really from the site experience into the shop experience as well. Paul Marden: Okay, so you're coming, you're experiencing what's going on and then looking to the outside world as to how you can source your products. Where do you go for the inspiration for the products? Anya Kirkby: Working with the team a lot. So Amy was a huge help on guiding us on what things would be very useful for visitors, what they really enjoyed when they were on site, what were their key take home messages that they experienced. And then working with Amy and Tracey as well to look at what products people like when they're in the shop anyway and how we can kind of marry those two up. Paul Marden: So what is it that people like when they come to Big Pit? Anya Kirkby: Well, unsurprisingly, the mine, they enjoy the mines, the mining experience. So that was just something that we already had in the shop. So we just expanded on that more if possible. But then we've also taken inspiration from signage. So they already had the original Big Pit signage and we looked at that and kind of again expanded on it. So then we've kind of expanded that to signage that you find in some of the other exhibits. So up in the showers, for example, in the canteen, signage, some of the original pieces from collections. We then translated that into products. So you'll see we've got the designs across mugs, original little metal signs, moved that across to prints, notebooks, postcards. Paul Marden: You've been developing a lot of the products yourself, so bringing that kind of the unifying feel to everything. Anya Kirkby: Yeah. So along with product development and making all the kind of the new things that we can have it's just bringing across the branding through the AC brand really strongly across everything. It's got such a strong message that we may as well have that on as many products as we possibly can do. Paul Marden: And how much of the stuff is actually locally sourced? Anya Kirkby: Oh, it's huge amounts. And the exciting thing is after speaking to Amy, the things that she needs to reorder are the local suppliers, which is so nice. So a lot of the confectionery that's locally sourced candles, soap, the coal figures, the wooden spoons, chocolate boxes, the biscuit boxes. So as much as possible. And then we've worked with local suppliers as well to do photography, to do some of the signage, to do the original signwriting in the shop as well. So beyond products, we've looked at the POS points like elements of the shop as well. So thankfully we've used as many local spires as we possibly can. Paul Marden: You've enjoyed this project, haven't you? Anya Kirkby: I absolutely loved it, yeah. It's fantastic to see it's absolutely amazing. Paul Marden: Yeah. Anya Kirkby: So yeah, it's really special. Paul Marden: And then from here you springboard on to the other seven sites. How do you, how do you come up with the ideas then? Anya Kirkby: Exactly the same process. So working with the teams to find out what it is that visitors absolutely love about their sites and bringing that into the shop experience. So again I get very lucky. I get to go around a lot museums and experience it. Paul Marden: It's a tough job, isn't it?Anya Kirkby: It's tricky. But basically finding out what they love and bringing that through the really things that visitors take home with them anyway and just making it into a product that they can actually physically take a piece of the museum home with them as well. Paul Marden: It's great because there are some pocket money items here because I take kids on school visits and it's a very expensive experience. You know, if they catch take a fiver with them, often they can't get anything with a fiver but they can walk in and they've got pencils, they've got rubbers and they'll walk out happy with those little bits. But at the same time you've got some beautiful stuff that the grown ups can come and pick up and really enjoy. Anya Kirkby: It's the same as any museum visitor. You kind of have to look at who's going to be visiting. It's all types of people that come and just gauging it from that as well. So having an offer for everyone that they can enjoy. Someone said to me once that children for the first time. It's often their first time having a transaction monetary wise. Is that a museum on a school trip? So it's just lovely to kind of have something for them to experience that as well. Paul Marden: Never thought of it like that. They're out on their own. They're not with mum and dad. So they've got the money themselves and they've got to make the decision. So we are at. I took some kids to the science museum last year. Anya Kirkby: Oh. Paul Marden: And the amount of time we took in the shop because of the indecision that they had. Anya Kirkby: It's the indecision decision and then the queue of all them having a five pound note and having all the change come back or not having quite enough. But I think it's such an important. If you can't do that in a museum, where can you do it? Paul Marden: Guy. Hi. Guy Veale: Hi. Paul Marden: I just wanted to talk to you a little bit about what was your part of the project? Guy Veale: I was sound designer for the soundscape which we can't hear when everyone's chatting. Paul Marden: I can hear some birds in the background. Is that. Guy Veale: Is that canaries? Living canaries. Not dead gas. Paul Marden:  Coal mine canary. Guy Veale: So I did a little bit of research sort of towards the end of the project after lots of stuff had been built in, when they decided that some low level sound would be a good part of the experience. And looking at the brief and the shape of the room, the acoustics, a lot of this new ducting that's gone in that was not then easy to put cables into. We had to go for a wireless solution. Paul Marden:  Okay. Guy Veale: As part of that I found a Swedish company that had a system that creates its own network which is like a weird dream because normally you've got to go the IT guys and then something goes wrong and there's some sort of address problems or. Bluetooth is not always reliable. This has been a revolution just in terms of. Guy Veale: Don't if you can see them. There's little. They look like light fixtures that are centrally over these panels. Paul Marden: Oh right. Guy Veale: And they're quite. Paul Marden: Oh. And so they're speaking speakers pointing down onto the panel to separate it. So what. What. The other kind of sound pictures that you're painting. We've got the canary. What else have you got? Guy Veale: So the whole idea is that you're trying to represent the industrial heritage of the site and have as many authentic sounds from the site as possible. Paul Marden: Right. Guy Veale: So we've reused some of the really high quality recordings that also feature at different parts of the site already. Paul Marden: Yep. Guy Veale: But then, also sourced about another 70 or 80 sound from the BBC archive. Paul Marden: Oh, wow. Guy Veale: Paid for. And so. But if you think about those sounds, they're quite punctuated and aggressive. You think of any industrial sound and like chipping away or different tipples working. You know, the idea is that you don't want to surprise someone that while they're shopping and leaning over next to a speaker and hearing. So it needed to be softened in some way. And you know, traditionally the way I've done work is music and sound design is using different textures and tonal design and like a drone, I suppose, is this as a sort of basis that can be moving and organic, not totally static? Paul Marden: Yeah. Guy Veale:  And the idea was to sort of try and include fragments of relevant songs using the male voice choir.Paul Marden:  Really.Guy Veale: And we tried several things and I looked at it and I realised that you might catch someone coming in for five minutes here and they catch a snippet and it's all well and good for them, but the staff and you've got to hear this eight hours a day, every day, you know, four weeks, a month, so forth. So even just one little identifiable recurring melody starts to get too much, even on quite a long five. Paul Marden: Oh, really? Guy Veale: And I found that it wasn't sustainable. So I, in the end, I ended up using the. Almost like the vocal warm ups and breaths of the choir artificially extended out so they're not breathing, just this constant low level, breathy sort of expulsion. I mean, if went quiet now, we'd hear it as the. As a backdrop and it's embedded with a few other little musical elements that just sort of try and soften and support. I think of it like the vowels of the track and then the consonants. Paul Marden: Or the industrial chipping noises and the harsher noises. Guy Veale: So they're harsher but they're there and they're a bit removed and reverberate and in the background. Paul Marden: But it's really interesting how you describe it in that kind of. Using the metaphor of the letters. Guy Veale: Yeah, that's what it felt like. Just trying to find something that was like a vocabulary of work that has to tick so many different boxes, including like a therapeutic retail experience. People leaving the site with a sense of well being. Also like summarising what they've been through, not sort of projecting them out the door with, you know, a completely new thing or somewhere that they haven't been through yet. So, you know, fair few things to try and fit in there and, you know, hopefully it works and we'll see how things are in a year's time. Paul Marden: Yeah. Cath, the last point I wanted touch on before we finish today is oh my God, how happy everybody was at that event yesterday. How positive the experience was for all of the team members. What was for you the big standout moment for the entire project? Catherine Pinkerton: I mean, there's so many, Paul. But I think for me it's an opportunity to see what can be achieved when people collaborate. And I think, you know, joining the museum three years ago is really collaborating with lots of different departments to achieve something as a team.Catherine Pinkerton: Teamwork is absolutely the key to kind of success and I think you can only achieve that by having that really product professional kind of embodiment with all of the collaborative teams to work together for the same goal. And I, I was really proud yesterday that it took a lot of work, but actually without a team of 40 people as well as the wider organisation, it would not have been, it was no mean feat, but it was certainly wasn't just down to one person saying this is my project because it was a team effort. Catherine Pinkerton: And I was so proud of everybody that was there to kind of thank them along the way to say, this is, we've done this and now onwards and upwards. Paul Marden: Yeah, absolutely. You should be so proud. It really was. Catherine Pinkerton: Thank you. Paul Marden:  It's a demonstration of what a museum gift shop experience can really be like when you work together like that, when you collaborate. So well done to all of you. It was such a lovely experience yesterday. Thank you for inviting me. Catherine Pinkerton: Thank you so much for coming, Paul. I appreciate it. Paul Marden: Before we go though, I always ask for a book recommendation from our guests. Now it would have bankrupted me to have asked everybody yesterday for book recommendations. So you have to take the responsibility of a recommendation on behalf of everybody. What have you got for me? Catherine Pinkerton: The secret for me is, you know, that that book seems to be. I always go back to that book very often and I think it's a key one for lots of areas. So that's definitely a takeaway for me. But the other one I'm reading at the moment called A Monk's Guide to Happiness. I'm not sure if you've had enough to read it. Yeah, it's a 21st century take on A Monk's Guide. It's written by Gelong Thubten and he had a very high powered job and he had a burnout and interestingly he changed his whole mindset in terms of what makes him happy and really making it quite basic. Right. Catherine Pinkerton: So it's a, it's a real eye opener in terms of just pulling things back sometimes, you know, at the end of the day, come on, let's just live life and be happy but, you know, not stress out about things. I'm quite easy to do that. So this is very much a. Just breathe, Kath, get through it. But it's a good one. If you want to just strip it back and just kind of understanding the basics of being happy, then, yeah, he's great. Paul Marden: Oh, Cath, that's a great recommendation. If you go over to Bluesky and repost the show message that Wenalyn put out and say, I want Kath's book, then the first person that does that will get a copy of the book sent to them. Kath, it was absolutely delightful. I enjoyed my day wandering around Big Pit yesterday no end. Given that half my family is from the valleys and most of them were miners, I feel like I should have done this a very long time ago. But it was lovely. And to enjoy the experience of the celebration that you had yesterday, it was a real privilege. So thank you. Catherine Pinkerton: Oh, huge privilege to have you there. Paul. Thank you so much. I'm really appreciative. Did you purchase? Paul Marden: I did purchase on my way out. Catherine Pinkerton: Yay. Great, great, great.Paul Marden: Deal. Catherine Pinkerton: Deal. Thank you so much. Paul Marden: So after my trip 90 metres down to the bottom of the mine shaft, where I of course couldn't take microphones, I'm now back up on the surface, microphones back in hand and enjoying myself, wandering around currently in the winding house, which is where all the machinery is for lifting the cages that 90 metres down to the bottom of the pit head. I've had an amazing day here at Big Pit. It's been so interesting to see this museum and to talk to many of the amazing staff that have taken part in this big project to redesign their gift shops. Highly recommend a day trip to Big Pit. Really has been very enjoyable, if for no other reason, to see that amazing new gift shop experience. Paul Marden: Now, as always, if you'd like a copy of Catherine's book, head over to Blue sky and repost the show notice that Wenalyn will post out and say, I want a copy of Catherine's book and the first person to do that will get that copy sent over to them. So all that remains for me to say is thank you to Catherine for inviting me here to Big Pit today. And I'll see you again soon. Take care. Bye Bye. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

Alan is joined by Peter Armstrong, president of Mystic Seaport Museum, to continue our celebration of 250 years of American innovation. Peter reflects on his 25 years in museum leadership and shares insights into Mystic's long shipbuilding history. The museum, the largest maritime museum in the U.S., features historic vessels like the Charles W. Morgan, clipper ships, and a converted diesel-electric steamboat. From Fresnel lenses to nuclear submarines, Peter highlights how the museum preserves maritime heritage while embracing modern innovation.     Guest Bio Peter Armstrong has been president of Mystic Seaport Museum since 2020, the largest maritime museum in the United States. With over 25 years in museum leadership, Peter previously served as senior director of museum operations and education at the Jamestown-Yorktown Foundation. Before moving to the U.S., he held key roles at the UK's National Museum of Arms and Armor, which includes iconic sites like the Tower of London. Peter brings a deep passion for history, education, and preservation to every project, making him a leading voice in connecting heritage with innovation.     Show Highlights (1:30) How Mystic became a hub for shipping and shipbuilding (3:02) What you can see and do at the Mystic Seaport Museum (5:55) What makes whaling ships and clipper ships different from any other types of ships (9:26) When and how steamboat technology made its way to the United States (14:00) How the Fresnel lens revolutionized lighthouses (15:34) Where America builds its ships today (17:53) Where you can learn more about the Mystic Seaport Museum     Links Referenced Website: https://mysticseaport.org  

Geologist Walter Alvarez was working away on some limestone samples in Gubbio, Italy, when he became intrigued by an odd layer of rock. He was looking at the K-T boundary. Underneath it, there are dinosaur fossils. Above it, there are none. And Walter was about to stumble on the reason why.In this final episode of our science series, we pair a rock sample from the K-T boundary with a unique portrait by Carmen Lomas Garza to tell the story of the dinosaur extinction -- how it happened, why it happened, and who figured it out.With Kirk Johnson, director of the Smithsonian's National Museum of Natural History, and Taína Caragol, curator of painting and sculpture and Latino art and history at the National Portrait Gallery.See the portraits we discussed:Walter Alvarez, by Carmen Lomas GarzaLuis Alvarez, Lawrence Berkeley National Laboratory

Steve Dale is joined by Mario Hernandez, Gallery Education Coordinator at the National Museum of Mexican Art to discuss the true meaning of Cinco de Mayo and how different areas of the world celebrate. Additionally, Mario highlights the museum and its mission.

Tazeen M. Ali (she/her) is assistant professor of Religion and Politics at Washington University in St. Louis. Her research and teaching focus on Islam and gender, US Islam, and race and religion in America. She is the author of The Women's Mosque of America: Authority & Community in US Islam (NYU Press, 2022). She has also published in Religion & Politics (now ARC Mag), The Conversation, The Maydan, and Middle East Eye. Ali is currently writing her second book, Muslims on Screen: Racism and Sexuality in Anglo-American Islam, which analyzes entertainment media projects produced by British and American Muslims. She also serves on the advisory board of the National Museum of American Religion. Ali earned her PhD in Religious Studies from Boston University in 2019. Visit Tazeen Ali Visit Classical Ideas Visit Sacred Writes  

Published to coincide with the 250th anniversary, this sweeping narrative is an astute exploration of thefive critical military events that changed the outcome of the Revolutionary War.About theAuthor:John R. Maass is a staff member of the NationalMuseum of the U.S. Army at Fort Belvoir. He received a BA in history from Washington and Lee University and a PhD in early American history at The Ohio State University. He is the author of several books on U.S. military history, including North Carolina & the French and Indian War (2013); Defending a New Nation, 1783-1811 (2013); The Road to Yorktown (2015); George Washington's Virginia (2017); and The Battle of Guilford Courthouse (2020).For more info on the book click HERE

What if you could step inside a song — and history itself? A visit to Nashville's National Museum of African American Music is a full-body, full-heart adventure into the sounds that shaped a nation. It's a place where rhythm, resilience, and innovation come alive. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/micro33 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096

Associate Professor and Founding Director of The Race, Politics, and Policy Center at George Mason University, Dr. Michael K. Fauntroy, gives his take on the future of the Smithsonian's National Museum of African American History and Culture and the court's latest decision to block the President from withholding school funds over DEI programs.Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

In an executive order titled “Restoring Truth and Sanity to American History,” President Trump targeted the Smithsonian, demanding that “improper ideology” be removed from exhibits. Under the order,  exhibits that “divide” Americans will be defunded, including  portrayals of race and its history at the National Museum of  African American History and Culture. We talk to Clint Smith, Atlantic staff writer and author of “How the Word is Passed: A Reckoning with the History of Slavery Across America,” about the battle over how American history is told. Guests: Clint Smith, poet; author; staff writer, The Atlantic. His books are "Above Ground" and "How the Word is Passed." Key Jo Lee, chief of curatorial affairs and public program, Museum of the African Diaspora Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the podcast, we open with a hilarious debate: has anyone ever actually won at hide and go get it? Then we dive into the Black History controversy making headlines, as Trump's new executive order leads to the removal of major exhibits from the National Museum of African American History and Culture, including artifacts from the Greensboro sit-ins. We also pay tribute to Pope Francis, who passed away at 88 after twelve years of promoting humility, social justice, and inclusion. In celebrity news, we react to Kanye's cousin dropping a viral song and unpack the explosive Shannon Sharpe lawsuit filed by an OnlyFans model, which is shaking up social media. On the sports side, we cover Alijah Arenas' recovery after his car accident, break down the biggest NFL Draft 2025 moves with Cam Ward and Travis Hunter leading the pack, and give a full NBA Playoffs update as teams like OKC, Cleveland, and Boston take control. Tap in for laughs, real talk, and the latest headlines you need to know. For more KSP,

Dr. Hermene Hartman, Chicago media pioneer and founder of N'Digo, joins Lisa Dent to discuss how the Trump administration is returning historic artifacts to original owners and removing primary exhibits from the National Museum of African American History and Culture in Washington, D.C.

When critics hinted Maurice Prendergast was getting a little repetitive as he approached 50, he could've hung up his brushes. After all, he'd been pretty successful. Instead, he headed back to where it all began--Paris--and came away reinvigorated with “a new impulse,” as he called it.   Today's episode takes us to the Hirshhorn Museum and Sculpture Garden in Washington DC. We'll find out how an idea that started with Congress just before the Depression led to an official modern art museum on the National Mall!   SHOW NOTES “A Long Look” themes are "Easy" by Ron Gelinas https://youtu.be/2QGe6skVzSs and “At the Cafe with You” by Onion All Stars https://pixabay.com/users/onion_all_stars-33331904/   Episode music “Scenes from Childhood, Op. 15 - IX. King of the Hobbyhorse” by Robert Schumman Performed by Donald Betts.   “Children's Corner, L. 113 - III. Serenade of the doll” by Claude Debussy Performed by Edward Rosser Both courtesy of musopen.org   “Loopster” by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License https://creativecommons.org/licenses/by/3.0/   Artwork information  Beach at Saint-Malo https://iiif.si.edu/mirador/?manifest=https%3A%2F%2Fids.si.edu%2Fids%2Fmanifest%2FHMSG-HMSG-66.4131 (mirador zoom-in view)   https://hirshhorn.si.edu/collection/artwork/?edanUrl=edanmdm%3Ahmsg_66.4131   Prendergast info https://www.theartstory.org/artist/prendergast-maurice/   https://www.nga.gov/collection/artist-info.5270.html   Maurice Prendergast. Wattenmaker, Richard J, and National Museum of American Art. New York: H.N. Abrams, 1994.  https://archive.org/details/mauriceprenderga0000watt/page/n5/mode/2up    Maurice Prendergast : By the Sea. Homann, Joachim. Brunswick, Maine: Bowdoin college Museum of Art, 2013.   “The Early Art Education of Maurice Prendergast.” Glavin, Ellen. Archives of American Art Journal 33, no. 1 (1993): 2–12. https://www.jstor.org/stable/1557569. (JSTOR)   Hirshhorn info https://hirshhorn.si.edu/explore/the-founding-donor/   https://hirshhorn.si.edu/about-us/   https://siarchives.si.edu/history/hirshhorn-museum-and-sculpture-garden Hirshhorn Museum and Sculpture Garden : The Collection. Brunet, Briana Feston, and Romare Bearden. Edited by Stéphane Aquin, Anne Reeve, and Sandy Guttman. New York: DelMonico Books, 2022.   Transcript available at https://alonglookpodcast.com/saint-malo/

On April 14, 1865, President Abraham Lincoln and First Lady Mary Lincoln departed the White House and arrived at Ford's Theatre to see a production of Our American Cousin. After four long, tumultuous years, the end of the Civil War was in sight. President Lincoln was known for his love of attending live theater, and even though he arrived late that evening, the production came to a halt when the orchestra played “Hail to the Chief” and the audience took to its feet and cheered. Sadly, what was to be an evening of celebration and respite turned into one of the most solemn moments in White House history. Stewart McLaurin, President of the White House Historical Association, hosts a special episode dedicated to the 160th anniversary of that fateful night when an assassin's bullet caused a mortal wound that would take President Lincoln's life the following morning. Stewart is joined by Paul R. Tetreault, Director of Ford's Theatre, who guides us through the events of that April evening, including a special look at the vestibule just outside the President's box where John Wilkes Booth stood moments before he pulled the trigger. Following the tour, Stewart is joined by Anthea M. Hartig, Elizabeth MacMillan Director of the Smithsonian's National Museum of American History, who shares some unique objects in the museum's archives from that night. Those items include several not on public display such as the china cup the president last drank from at the White House before leaving for the theater, as well as the bloodied cuff of the young doctor who was at Ford's Theatre that evening and the first to attend to President Lincoln on the scene. Join us as we honor and remember Abraham Lincoln, the 16th President of the United States.

“I was tame, I was gentle til the circus life made me mean.” This week on AP Taylor Swift, we delve into the recurring motif of the circus in Taylor Swift's discography. From the tightropes of emotional vulnerability to the grand illusions of public persona, we analyze how Taylor employs circus imagery to convey themes of performance, control, and otherness. This episode includes discussions on the historical exploitation within circus culture, including forced labor, racism, and animal cruelty. For more information, we recommend the article from the National Museum of African American History and Culture and the podcast Circus Stories for firsthand accounts. Subscribe to get new episode updates: aptaylorswift.substack.com/subscribe Stay up to date at aptaylorswift.com Mentioned in this episode: Circus Stories Podcast Water for Elephants by Sara Gruen The Night Circus The Phantom of the Opera The Prestige (2006 film) Slaughterhouse-Five by Kurt Vonnegut Disney's Dumbo and Bambi 60 - Witches 61- Deep Dive “Who's Afraid of Little Old Me” The Second Sex Great Expectations Episode Highlights: [00:45] Introduction to the circus metaphor in literature and music [10:50] “Say Don't Go” 1989 (Taylor's Version) (From the Vault) [24:53]  “…So It Goes” reputation [33:26] “Who's Afraid of Little Old Me?” The Tortured Poets Department  Follow AP Taylor Swift podcast on social!  TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree →linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm →  tinyurl.com/aptslibro Contact us at aptaylorswift@gmail.com  Affiliate Codes:  Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off!  Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.

The American Historical Association was chartered by Congress in 1884 and has played an essential role in helping foster and spread great historical research. AHA incoming Executive Director Sarah Weicksel and pioneering public historian Ed Ayers join us for a discussion of AHA's history, its current projects and the damage that recent government policy has done to historians' ability to create and share an honest history of the United States. Learn more by visiting the American Historical Association's website at historians.org. The report discussed in this episode is “American Lesson Plan: Teaching US History in Secondary Schools.” Dr. Sarah Jones Weicksel is Director of Research and Publications and incoming Executive Director at the AHA and Research Associate at the Smithsonian's National Museum of History. Dr. Ed Ayers is Tucker-Boatwright Professor of the Humanities and President Emeritus at the University of Richmond. His book In the Presence of Mine Enemies: War in the heart of America, 1859-1863 won the Bancroft Prize and Beveridge Award in 2004 and in 2013 he was awarded the National Humanities Medal. Join us for a live recording of the Road to Now in Washington, DC on May 29 at The Hamilton Live ft. guests Major Garett, Margaret Talev & Doug Heye. The theme is murder & mayhem in the capital city- get your tickets here!   This episode was edited by Gary Fletcher.

Our guest is Dr. Camilla Westenberg. Dr. Westenberg has been a decades-long advocate for equity for both women and marginalized communities. She is a Charter member of the NMAAHC. Additionally, she currently serves as the VP for Political Action of the Maricopa County Branch of the NAACP, she is a distinguished leader in the Alpha Kappa Alpha Sorority Phoenix Chapter. Additionally, she is a Life Member of the National Council of Negro Women. In the first half of the show, discuss the importance of the National Museum of African American History and Culture. We also discuss the attacks on the museum by the current administration. Finally, we discuss ways to support the museum as well as their path forward.Support the show: https://www.patreon.com/civiccipher?utm_source=searchSee omnystudio.com/listener for privacy information.

Cellphones put the power of the world at our fingertips. With the touch of a finger, you can instantly connect with your doctor, have food delivered to your office or simply obliterate your niece at Words with Friends. And it's all made possible by rocks formed millions of years ago, deep underground. Join us as we bust open our devices to figure out how these stones power our phones.Guests:Joshua A. Bell, curator of globalization at the Smithsonian's National Museum of Natural HistoryMichael Wise, geologist in the department of mineral sciences at the Smithsonian's National Museum of Natural HistoryJosh Lepawsky, professor of geography at Memorial University of Newfoundland

Sophie Lutterlough (1910-2009) was an American entomologist who spent 40 years working at the Smithsonian National Museum of Natural History. She started out as the museum’s first woman elevator operator, and eventually became an entomologist. For Further Reading: Smithsonian Institute Archives: Sophie Lutterlough’s Career at the National Museum of Natural History Penn State Center for Pollinator Research: Sophie Lutterlough Using Data Science to Uncover the Work of Women in Science Sophie Lutterlough Obituary Sophie Lutterlough: The One Woman Information Bureau This month, we’re talking about cultivators — women who nurtured, cross-pollinated, experimented, or went to great lengths to better understand and protect the natural world. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Adrien Behn, Alyia Yates, Vanessa Handy, Melia Agudelo, and Joia Putnoi. Special thanks to Shira Atkins. Original theme music composed by Brittany Martinez. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

We have portraits of people in our galleries. But what if you're a natural science museum? How do you portray a dinosaur? We talk with Kirk Johnson, Sant Director of the Smithsonian's National Museum of Natural History, about the ways our portrayals of dinosaurs have evolved, from sluggish and lizard-like to warm-blooded, colorful and spry. Then Matthew Carrano, curator of dinosauria, explains how the museum put T. rex into a striking new pose. The trick, he says, is to convey how cool dinosaurs were, without making them seem alien.We also tie in a couple portraits from the National Portrait Gallery's collection: an image of the first person to describe an American dinosaur, and a photograph of the first person to give them the Hollywood treatment.See the portraits we discussed:Joseph Leidy, by Frederick GutekunstSteven Spielberg, by Gregory HeislerThe Nation's T. rex, the Smithsonian's National Museum of Natural HistoryAlso recommended:Visions of Lost Worlds: The Paleoart of Jay Matternes, by Matthew T. Carrano and Kirk R. Johnson

According to USA TODAY, the Smithsonian's National Museum of African American History and Culture—opened nine years ago to national acclaim—is now facing criticism from President Donald Trump. In a recent executive order, Trump accused the museum of promoting “ideological indoctrination” and distorting American history. The museum, visited by 1.6 million people in 2024, highlights both the struggles and triumphs of the Black experience, from slavery to hip-hop. Shortly after the order, museum director Kevin Young resigned. Supporters argue the museum fills critical gaps in education and preserves a rich cultural legacy. Trump's executive order leaves the museum's future uncertain, but its significance remains widely affirmed. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Greg Carr and Professor Karen Hunter remember the life and legacy of Joe Madison, known as “The Black Eagle,” who passed away on January 31. He was 74.Joe Madison was a leading figure in American talk radio, who made history on multiple occasions, including in 2015 when he broke the Guinness World Record for “longest marathon hosting a radio talk show” (52 hours live). His efforts raised over $250,000 for the Smithsonian's National Museum of African American History and Culture. In that same year he also became the first national, American talk show in more than 50 years to broadcast live from Cuba.Madison was also a civil rights activist known for staging protests and acts of civil disobedience, and a key figure in the top circles of African American leadership and activism. A native of Dayton, Ohio, he graduated from Washington University in St. Louis, which awarded him an honorary doctorate in 2019. In that same year he was also elected to the National Radio Hall of Fame in recognition of over 40 years in broadcasting. His signature line when people called his show to speak about injustice was “What are you going to do about it?”Madison is survived by his wife, Sherry; his children Jason, Monesha, Shawna and Michelle; his five grandchildren; and one great-grandchild.JOIN KNARRATIVE: https://www.knarrative.com it's the only way to get into #Knubia, where these classes areheld live with a live chat.To shop Go to:TheGlobalMajorityMore from us:Knarrative Twitter: https://twitter.com/knarrative_Knarrative Instagram: https://www.instagram.com/knarrative/In Class with Carr Twitter: https://twitter.com/inclasswithcarrSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hey there Lemon Nation! Today, Legal analyst, political commentator and Host of the Make It Make Sense Daily Digital Show, Monique Pressley brings us a new episode of The Week With Monique! Have you heard about President Trump's interference with The National Museum of African American History and Culture in Washington D.C.? He is targeting the museum's slavery section in an attempt to rewrite our nation's history. Join Monique as she breaks it down for you. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Emily Bazelon, John Dickerson, and David Plotz discuss the self-inflicted chaos of Trump's tariffs and an escalating trade war with China; the Supreme Court's careful responses to deportations without due process which leave key questions unanswered; and the brazen attempted heist of a North Carolina Supreme Court seat by Republicans. Emily: Adam Cancryn and Maggie Miller for Politico: Trump orders investigation of two first-term administration aides who criticized him John: Blue Mass (Wikipedia); National Museum of American History: Blue Mass Compound, Sugar-coated Pills; Wallace B. Mendelson for Psychology Today: Heavy Metal Blues: The History of Medicinal Mercury; Everything Is Tuberculosis by John Green; Alka Agrawal for Science: All the President's Pills. David: Sage McHugh for The Spruce: The 7 Best Moth Repellents the Spruce Has Tested; Sophie Yarin for The Brink: Pioneering Research from Boston University: Elevating the Clothes-Eating Moth from Pest to Evolutionary Marvel; Chris Obenschain for HowStuffWorks: What To Do If You Inherit An Old Car Listener chatter from Tim in Solana Beach, California: Jack Dolan for the L.A. Times: As baby great whites cruise among California surfers, science finds (almost) nothing to fear; Video (3:15), L.A. Times on YouTube For this week's Slate Plus bonus episode, Emily, John, and David discuss favorite artworks they turn to for solace and perspective when chaos and tumult dominates the news. In the latest Gabfest Reads, David talks with author Adam Higginbotham about his new book, Challenger: A True Story of Heroism and Disaster on the Edge of Space. Email your chatters, questions, and comments to gabfest@slate.com. (Messages may be referenced by name unless the writer stipulates otherwise.) Podcast production by Kevin Bendis Research by Emily Ditto Want more Political Gabfest? Join Slate Plus to unlock weekly bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. You can subscribe directly from the Political Gabfest show page on Apple Podcasts and Spotify. Or visit slate.com/gabfestplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Emily Bazelon, John Dickerson, and David Plotz discuss the self-inflicted chaos of Trump's tariffs and an escalating trade war with China; the Supreme Court's careful responses to deportations without due process which leave key questions unanswered; and the brazen attempted heist of a North Carolina Supreme Court seat by Republicans. Emily: Adam Cancryn and Maggie Miller for Politico: Trump orders investigation of two first-term administration aides who criticized him John: Blue Mass (Wikipedia); National Museum of American History: Blue Mass Compound, Sugar-coated Pills; Wallace B. Mendelson for Psychology Today: Heavy Metal Blues: The History of Medicinal Mercury; Everything Is Tuberculosis by John Green; Alka Agrawal for Science: All the President's Pills. David: Sage McHugh for The Spruce: The 7 Best Moth Repellents the Spruce Has Tested; Sophie Yarin for The Brink: Pioneering Research from Boston University: Elevating the Clothes-Eating Moth from Pest to Evolutionary Marvel; Chris Obenschain for HowStuffWorks: What To Do If You Inherit An Old Car Listener chatter from Tim in Solana Beach, California: Jack Dolan for the L.A. Times: As baby great whites cruise among California surfers, science finds (almost) nothing to fear; Video (3:15), L.A. Times on YouTube For this week's Slate Plus bonus episode, Emily, John, and David discuss favorite artworks they turn to for solace and perspective when chaos and tumult dominates the news. In the latest Gabfest Reads, David talks with author Adam Higginbotham about his new book, Challenger: A True Story of Heroism and Disaster on the Edge of Space. Email your chatters, questions, and comments to gabfest@slate.com. (Messages may be referenced by name unless the writer stipulates otherwise.) Podcast production by Kevin Bendis Research by Emily Ditto Want more Political Gabfest? Join Slate Plus to unlock weekly bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. You can subscribe directly from the Political Gabfest show page on Apple Podcasts and Spotify. Or visit slate.com/gabfestplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Emily Bazelon, John Dickerson, and David Plotz discuss the self-inflicted chaos of Trump's tariffs and an escalating trade war with China; the Supreme Court's careful responses to deportations without due process which leave key questions unanswered; and the brazen attempted heist of a North Carolina Supreme Court seat by Republicans. Emily: Adam Cancryn and Maggie Miller for Politico: Trump orders investigation of two first-term administration aides who criticized him John: Blue Mass (Wikipedia); National Museum of American History: Blue Mass Compound, Sugar-coated Pills; Wallace B. Mendelson for Psychology Today: Heavy Metal Blues: The History of Medicinal Mercury; Everything Is Tuberculosis by John Green; Alka Agrawal for Science: All the President's Pills. David: Sage McHugh for The Spruce: The 7 Best Moth Repellents the Spruce Has Tested; Sophie Yarin for The Brink: Pioneering Research from Boston University: Elevating the Clothes-Eating Moth from Pest to Evolutionary Marvel; Chris Obenschain for HowStuffWorks: What To Do If You Inherit An Old Car Listener chatter from Tim in Solana Beach, California: Jack Dolan for the L.A. Times: As baby great whites cruise among California surfers, science finds (almost) nothing to fear; Video (3:15), L.A. Times on YouTube For this week's Slate Plus bonus episode, Emily, John, and David discuss favorite artworks they turn to for solace and perspective when chaos and tumult dominates the news. In the latest Gabfest Reads, David talks with author Adam Higginbotham about his new book, Challenger: A True Story of Heroism and Disaster on the Edge of Space. Email your chatters, questions, and comments to gabfest@slate.com. (Messages may be referenced by name unless the writer stipulates otherwise.) Podcast production by Kevin Bendis Research by Emily Ditto Want more Political Gabfest? Join Slate Plus to unlock weekly bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. You can subscribe directly from the Political Gabfest show page on Apple Podcasts and Spotify. Or visit slate.com/gabfestplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stand Up is a daily podcast that I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more Tim Wise from Podjam starts at 34 minutes  Tim Wise Link Tree Tim Wise, whom scholar and philosopher Cornel West calls, “A vanilla brother in the tradition of (abolitionist) John Brown,” is among the nation's most prominent antiracist essayists and educators. He has spent the past 25 years speaking to audiences in all 50 states, on over 1000 college and high school campuses, at hundreds of professional and academic conferences, and to community groups across the nation. He has also lectured internationally in Canada and Bermuda, and has trained corporate, government, law enforcement and medical industry professionals on methods for dismantling racism in their institutions. Wise's antiracism work traces back to his days as a college activist in the 1980s, fighting for divestment from (and economic sanctions against) apartheid South Africa. After graduation, he threw himself into social justice efforts full-time, as a Youth Coordinator and Associate Director of the Louisiana Coalition Against Racism and Nazism: the largest of the many groups organized in the early 1990s to defeat the political candidacies of white supremacist and former Ku Klux Klan leader David Duke. From there, he became a community organizer in New Orleans' public housing, and a policy analyst for a children's advocacy group focused on combatting poverty and economic inequity. He has served as an adjunct professor at the Smith College School of Social Work, in Northampton, MA., and from 1999-2003 was an advisor to the Fisk University Race Relations Institute in Nashville, TN.   Wise is the author of seven books, including his highly-acclaimed memoir, White Like Me: Reflections on Race from a Privileged Son, as well as Dear White America: Letter to a New Minority, and Under the Affluence: Shaming the Poor, Praising the Rich and Sacrificing the Future of America. His forthcoming book, White LIES Matter: Race, Crime and the Politics of Fear in America, will be released in 2018. His essays have appeared on Alternet, Salon, Huffington Post, Counterpunch, Black Commentator, BK Nation, Z Magazine and The Root, which recently named Wise one of the “8 Wokest White People We Know.” Wise has been featured in several documentaries, including “The Great White Hoax: Donald Trump and the Politics of Race and Class in America,” and “White Like Me: Race, Racism and White Privilege in America,” both from the Media Education Foundation. He also appeared alongside legendary scholar and activist, Angela Davis, in the 2011 documentary, “Vocabulary of Change.” In this public dialogue between the two activists, Davis and Wise discussed the connections between issues of race, class, gender, sexuality and militarism, as well as inter-generational movement building and the prospects for social change. Wise is also one of five persons—including President Barack Obama—interviewed for a video exhibition on race relations in America, featured at the National Museum of African American History and Culture in Washington DC. Additionally, his media presence includes dozens of appearances on CNN, MSNBC and NPR, feature interviews on ABC's 20/20 and CBS's 48 Hours, as well as videos posted on YouTube, Facebook and other social media platforms that have received over 20 million views. His podcast, “Speak Out with Tim Wise,” launched this fall and features weekly interviews with activists, scholars and artists about movement building and strategies for social change.   Wise graduated from Tulane University in 1990 and received antiracism training from the People's Institute for Survival and Beyond, in New Orleans. The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform.   Join us Monday and Thursday at 8EST for our Weekly Happy Hour Hangout!  Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe Buy Ava's Art  Hire DJ Monzyk to build your website or help you with Marketing Pete on Blue Sky Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe Buy Ava's Art  Hire DJ Monzyk to build your website or help you with Marketing Gift a Subscription https://www.patreon.com/PeteDominick/gift

This week on The Gedunk Show with Dan and Bobby, we dive into the national security implications of SignalGate and what it means for trust in our intelligence infrastructure. We then unpack the reported efforts by the Trump administration to defund and dismantle the National Museum of African American History and Culture — and what that says about the broader cultural and political landscape. Finally, we lighten it up with a full-court press into March Madness, breaking down the Final Four and what to expect in the closing games of the tournament. It's a mix of serious, surprising, and straight-up sports talk — all in one episode. Follow us here: https://linktr.ee/valormedianetwork

In this episode of PhotoWork, host Sasha Wolf has a deeply moving conversation with renowned photographer Jamel Shabazz. They talk about his lifelong love for photography and how he uses it to make a social impact. Jamel opens up about how his life experiences have shaped his approach to art and hard work. The episode also covers his book, “A Time Before Crack,” and its importance to his community at the time. It's a heartfelt conversation that goes beyond just photography. Tune in to hear the insights and stories from a photographer passionate about making a difference. https://www.jamelshabazzphotographer.com ||| https://www.instagram.com/jamelshabazz/ Jamel Shabazz is best known for his iconic photographs of New York City during the 1980s. A documentary, fashion, and street photographer, he has authored 12 monographs and contributed to over three dozen other photography related books. His photographs have been exhibited worldwide and his work is housed within the permanent collections of The Whitney Museum, The Studio Museum in Harlem, The Smithsonian's National Museum of African American History and Culture, The Fashion Institute of Technology, The Art Institute of Chicago and the Getty Museum. Over the years, Shabazz has instructed young students at the Studio Museum in Harlem's “Expanding the Walls” project, The Schomburg Center for Research in Black Culture “Teen Curator's” program, and the Bronx Museum's “Teen Council.” He is also the 2018 recipient of the Gordon Parks award for excellence in the arts and humanitarianism and the 2022 awardee of the Gordon Parks Foundation/Steidl book prize. Jamel is also a member of the photo collective Kamoinge, and a board member of En Foco, another photo collective. His goal as an artist is to contribute to the preservation of world history and culture.

France's far right leader Marine le Pen has come out fighting after a court blocked her from running for President in two years, following her conviction for embezzlement. We hear reaction from her party, plus analysis of what this means for French politics.Also in the programme: the UN's humanitarian chief says he wants answers and justice after fifteen Palestinian medics and aid workers are killed by Israeli forces in Gaza; and as news emerges of Sudan's National Museum being ransacked by retreating forces, we hear from a senior curator.(IMAGE: President of the far-right Rassemblement National (RN) parliamentary group Marine Le Pen poses prior to an interview on the evening news broadcast of French TV channel TF1, in Boulogne-Billancourt, outside Paris, France, 31 March 2025 / CREDIT: THOMAS SAMSON/POOL/EPA-EFE/REX/Shutterstock)

Tourist submarine sinks off Egypt's Red Sea coast with at least six people confirmed dead. Also, Trump imposes new tariffs on foreign cars, and the devastation Sudan's civil war has caused to the National Museum.

A billion-dollar spacecraft, a daring deep-space mission, and one of humanity's biggest questions: Where did we come from? NASA's OSIRIS-REx set out to collect a pristine sample from asteroid Bennu, a cosmic time capsule that may hold clues to the origins of life in our solar system. But the journey was anything but easy.Guests:Erica Jawin, postdoctoral research geologist in the Center for Earth and Planetary Studies at the Smithsonian's National Air and Space Museum and member of the OSIRIS-REx missionTim McCoy, curator of meteorites at the Smithsonian's National Museum of Natural History and deputy mission sample scientist for the OSIRIS-REx missionMike Moreau, deputy project manager in the Space Science Mission Operations Project at NASA's Goddard Space Flight Center