Podcast appearances and mentions of Paul Chaat Smith

Paul Chaat Smith is an author, essayist, and the curator of the Smithsonian's National Museum of the American Indian is visiting New Zealand giving free public talks.

It's autumn which means it's time to start talking holiday seasons and holiday romances here at Fated Mates, so this week, we're talking about one of Jen's favorite category trilogies—Tiffany Reisz's Men At Work series from Harlequin Blaze. These are sexy, subversive romances that turn tropes on their head while delivering delight. There's still time to buy the Fated Mates Best of 2021 Book Pack from our friends at Old Town Books in Alexandria, VA, and get eight of the books on the list, a Fated Mates sticker and other swag! Order the book box as soon as you can to avoid supply chain snafus. Thank you, as always, for listening! If you are up for leaving a rating or review for the podcast on your podcasting app, we would be very grateful! Our next read-along will be Nalini Singh's Caressed by Ice, number three (and Jen's favorite) of the Psy-Changeling series. Get them at Amazon, Apple, Kobo, B&N or at your local indie.Show NotesTiffany Reisz is the author of the Original Sinners series and several category length romances. The Men at Work series was a Harlequin Blaze, a line that ran between 2001-2017. The ghost story one is called The Headmaster, part of a tiny stand alone Harlequin eBook series called Shivers.We've talked about the history of category romance on many episodes: our favorite bonkers old categories from the 80s/90s, with Steve Ammidown on the first acquisitions of Vivian Stephens, and with rare book dealer Rebecca Romney. Harlequin at the end of 2021 has 11 different lines: Desire, Heartwarming, Historical, Intrigue, Medical Romance, Presents, Romance, Romantic Suspense, Special Edition, Love Inspired, and Love Inspired Suspense. The Romance Wars section of Rebecca Romney's romance catalog starts on page 125, and it's fascinating. Amazon began in 1994, it had 180 thousand accounts in 1996 and a million accounts by the end of 1997. The Sony Reader was on the market starting in 2004, and the first Kindle was in 2007. Kindle Unlimited started in 2014.The Invention of Thanksgiving is a video from The Smithsonian National Museum of the American Indian, it features an interview with Paul Chaat Smith, a member of the Comanche tribe. Debbie Reese has a great thread with resources for children's books with Native American characters to read or avoid.Sarah recommends the TV show Happy Endings, and Flashdance is has a music video vibe rather than a movie with a plot.Compare and contrast original Loveswept back cover copy to the updated version for Sunny Chandler's Return by Sandra Brown. Here is an explainer about how there was a traditional belief that Judaism is matrilineal, it is not a belief held by all Jewish people. This essay explains how a 1983 decision from Reform rabbis made room for children of mixed marriages to claim patrilineal descent. Order soon if you want to make sure your Fated Mates Book Pack— 8 of our 10 Best Romance Novels of 2021— from Old Town Books in Alexandria, VA.

These last few weeks brought jolting discoveries at residential schools in Canada— unmarked grave sites thought to contain the remains of hundreds of Indigenous children who went missing. The news was a visceral reminder that systemic racism and discrimination can literally bury the past. So we decided to revisit an episode about a woman who— unlike so many Indigenous people of her time— was celebrated by Colonial America, and actually had a portrait done: Pocahontas. Curator and author Paul Chaat Smith sifts through what we know, and what we think we know, about this iconic figure. See the portraits we discussed: Pocahontas, painting Pocahontas, engraving

We know how nonprofits make change. They provide services, teach people how to organize and use those capacities and get legislation passed. Can cultural institutions also make change? In the case of the Smithsonian’s National Museum of the American Indian, the answer is yes. While the experience of changemaking may be more personal at a museum, the same strategies are needed to be successful. It starts with a mission to amplify the voices of communities that are too often unheard. And it is powered by a governance structure that includes and is accountable to its constituency. In both cases, they meet members/visitors where they are and hope they carry what they learn forward. As NMAI's Paul Chaat Smith explains, the museum  is about deepening awareness, not promoting cultural tourism. A Comanche author, essayist and curator, Paul walks us through Americans, the powerful exhibit he co-curated with Cécile Ganteaume, to explore how Indian imagery is embedded in virtually every area of American life. Listen to Paul and visit NMAI online until the doors are open to us all again.  

The District of Columbia's football team is abandoning the name it adopted almost a century ago. Paul Chaat Smith, a curator at the National Museum of the American Indian, hopes the country is at long last ready to reckon with its past. Transcript at vox.com/todayexplained. Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Chaat Smith is a Comanche  writer and curator. He  joined the Smithsonian's National Museum of the American Indian in 2001, where he serves as Associate Curator. His projects include the NMAI's history gallery, performance artist James Luna's Emendatio at the 2005 Venice Biennial, Fritz Scholder: Indian/Not Indian, and Brian Jungen: Strange Comfort. With Robert Warrior, he is the author of Like a Hurricane: the Indian Movement from Alcatraz to Wounded Knee, a standard text in Native studies and American history courses. His second book, Everything You Know about Indians Is Wrong is a memoir and commentary from Paul about the contradictions of life in the Indian business. americanindian.si.edu · www.creativeprocess.info

Paul Chaat Smith is a Comanche  writer and curator. He  joined the Smithsonian's National Museum of the American Indian in 2001, where he serves as Associate Curator. His projects include the NMAI's history gallery, performance artist James Luna's Emendatio at the 2005 Venice Biennial, Fritz Scholder: Indian/Not Indian, and Brian Jungen: Strange Comfort. With Robert Warrior, he is the author of Like a Hurricane: the Indian Movement from Alcatraz to Wounded Knee, a standard text in Native studies and American history courses. His second book, Everything You Know about Indians Is Wrong is a memoir and commentary from Paul about the contradictions of life in the Indian business. americanindian.si.edu · www.creativeprocess.info

If the 1995 animated Disney film is your guide, Pocahontas was a free-spirited Native American heroine who sang to the wind. So why is she dressed like European royalty in her painting at the National Portrait Gallery? Curator and author Paul Chaat Smith separates out what we know and what we think we know about this iconic figure. Check out the portraits we discuss on our website: https://npg.si.edu/podcasts/pondering-pocahontas

In the summer of 2018 the name of Laura Ingalls Wilder was erased from a children's literary medal set up in her honour six decades ago. Readers of the Little House on the Prairie series of books were widely perplexed, but the original American pioneer girl now finds herself at the centre of the culture wars in the US. Nominating her is the broadcaster and superfan Samira Ahmed, who has been to Rocky Ridge Farm, now an historic museum in Missouri and Laura Ingalls Wilder's home. Joining Samira in studio is the novelist Tracy Chevalier. president of the Laura Ingalls Wilder club at the age of eight. At the centre of the controversy - the depiction in these books of native Americans. “Her works reflect dated cultural attitudes toward indigenous people and people of colour that contradict modern acceptance, celebration, and understanding of diverse communities,” was the judgment of the ALSC. This programme also includes Laura Ingalls Wilder's biographer, Pamela Hill; plus the Commanche writer Paul Chaat Smith in an extract from The Invention of the USA. "I feel worried," says Samira Ahmed, "that we've lost the ability to have nuance. I cannot read these books without feeling aspects of racism, but why shouldn't we be able to read them and still see the beauty in them." The presenter is Matthew Parris and the producer in Bristol is Miles Warde. Future programmes include Matt Lucas on Freddie Mercury, and Mark Steel on Charlie Chaplin on Christmas Day.

In 1621, a group of Pilgrims and Native Americans came together for a meal that many Americans call "The First Thanksgiving." But get this—it wasn't the first, and the meal itself wasn't so special either. The event was actually all but forgotten for hundreds of years…until it was dusted off to bolster the significance of a national holiday. This time on Sidedoor, we talk to Paul Chaat Smith, a curator at the Smithsonian's National Museum of the American Indian, to explore how much of what you think you know about Native Americans may be more fiction than fact.

In 1621, a group of Pilgrims and Native Americans came together for a meal that many Americans call "The First Thanksgiving." But get this—it wasn't the first, and the meal itself wasn't so special either. The event was actually all but forgotten for hundreds of years…until it was dusted off to bolster the significance of a national holiday. This time on Sidedoor, we talk to Paul Chaat Smith, a curator at the Smithsonian's National Museum of the American Indian, to explore how much of what you think you know about Native Americans may be more fiction than fact.

A conversation about the intersection of art and language that grapples with loneliness, religion, and our visceral reactions in the presence of powerful art. In the sixth episode of Dialogues, Jarrett Earnest—author of the unprecedented overview of American art writing, What it Means to Write About Art: Interviews with art critics, just out from David Zwirner Books—converses with Peter Schjeldahl, award-winning art critic and esteemed writer for The New Yorker. Touching on Piero della Francesca, Gatsby, and autodidacticism, the two examine the depths of language, the anxiety that accompanies writing, and the value of maintaining a lighthearted approach. See Jarrett Earnest in conversation with Peter Schjeldahl and Paul Chaat Smith on What it Means to Write About Art at the Strand Book Store on Thursday, November 1, at 7:30 PM. For tickets and more information, visit strandbooks.com/event/jarrett-earnest-what-it-means. For more of what’s to come on Dialogues, listen to our trailer or visit davidzwirner.com/podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

A conversation about the intersection of art and language that grapples with loneliness, religion, and our visceral reactions in the presence of powerful art.  In the sixth episode of Dialogues, Jarrett Earnest—author of the unprecedented overview of American art writing, What it Means to Write About Art: Interviews with art critics, just out from David Zwirner Books—converses with Peter Schjeldahl, award-winning art critic and esteemed writer for The New Yorker. Touching on Piero della Francesca, Gatsby, and autodidacticism, the two examine the depths of language, the anxiety that accompanies writing, and the value of maintaining a lighthearted approach. See Jarrett Earnest in conversation with Peter Schjeldahl and Paul Chaat Smith on What it Means to Write About Art at the Strand Book Store on Thursday, November 1, at 7:30 PM. For tickets and more information, visit strandbooks.com/event/jarrett-earnest-what-it-means. For more of what’s to come on Dialogues, listen to our trailer or visit davidzwirner.com/podcast.

For most non-native Americans, the Red Power Movement of the 1960s and 70s appeared out of nowhere. Convinced of triumphalist myths of the disappearing (or disappeared) Indian, white America relegated native communities to the margins of society. Then, “like a hurricane” (in the words of Robert Warrior and Paul Chaat Smith), the take-over of Alcatraz Island in 1969, the seizure of the Bureau of Indian Affairs in 1972, and finally the 1973 occupation of Wounded Knee–a dramatic series of events which placed First Nations at the heart of the era’s great social upheavals. But does this snapshot tell the whole story? In his fascinating new book Red Power Rising: The National Indian Youth Council and the Origins of Native Activism (University of Oklahoma Press, 2011), Bradley Shreve finds the roots of American Indian activism in the nascent inter-tribal organizing of the early 20th century and the various attempts at fashioning independent organizations of dedicated native youth over the following decades. In the process, Shreve demonstrates how the militant actions of the 1960s and 70s “followed in the footsteps of an earlier generation.” He writes, “Indeed, movements for social change do not emerge in a vacuum. They are built upon precedent, they incorporate and borrow ideas from the past, and they may find inspiration from contemporaries.” This is a story of the past informing the present, of movements building on tradition, and the dramatic arrival of an era of self-determination. Learn more about your ad choices. Visit megaphone.fm/adchoices

For most non-native Americans, the Red Power Movement of the 1960s and 70s appeared out of nowhere. Convinced of triumphalist myths of the disappearing (or disappeared) Indian, white America relegated native communities to the margins of society. Then, “like a hurricane” (in the words of Robert Warrior and Paul Chaat Smith), the take-over of Alcatraz Island in 1969, the seizure of the Bureau of Indian Affairs in 1972, and finally the 1973 occupation of Wounded Knee–a dramatic series of events which placed First Nations at the heart of the era’s great social upheavals. But does this snapshot tell the whole story? In his fascinating new book Red Power Rising: The National Indian Youth Council and the Origins of Native Activism (University of Oklahoma Press, 2011), Bradley Shreve finds the roots of American Indian activism in the nascent inter-tribal organizing of the early 20th century and the various attempts at fashioning independent organizations of dedicated native youth over the following decades. In the process, Shreve demonstrates how the militant actions of the 1960s and 70s “followed in the footsteps of an earlier generation.” He writes, “Indeed, movements for social change do not emerge in a vacuum. They are built upon precedent, they incorporate and borrow ideas from the past, and they may find inspiration from contemporaries.” This is a story of the past informing the present, of movements building on tradition, and the dramatic arrival of an era of self-determination. Learn more about your ad choices. Visit megaphone.fm/adchoices

For most non-native Americans, the Red Power Movement of the 1960s and 70s appeared out of nowhere. Convinced of triumphalist myths of the disappearing (or disappeared) Indian, white America relegated native communities to the margins of society. Then, “like a hurricane” (in the words of Robert Warrior and Paul Chaat Smith), the take-over of Alcatraz Island in 1969, the seizure of the Bureau of Indian Affairs in 1972, and finally the 1973 occupation of Wounded Knee–a dramatic series of events which placed First Nations at the heart of the era’s great social upheavals. But does this snapshot tell the whole story? In his fascinating new book Red Power Rising: The National Indian Youth Council and the Origins of Native Activism (University of Oklahoma Press, 2011), Bradley Shreve finds the roots of American Indian activism in the nascent inter-tribal organizing of the early 20th century and the various attempts at fashioning independent organizations of dedicated native youth over the following decades. In the process, Shreve demonstrates how the militant actions of the 1960s and 70s “followed in the footsteps of an earlier generation.” He writes, “Indeed, movements for social change do not emerge in a vacuum. They are built upon precedent, they incorporate and borrow ideas from the past, and they may find inspiration from contemporaries.” This is a story of the past informing the present, of movements building on tradition, and the dramatic arrival of an era of self-determination. Learn more about your ad choices. Visit megaphone.fm/adchoices

For most non-native Americans, the Red Power Movement of the 1960s and 70s appeared out of nowhere. Convinced of triumphalist myths of the disappearing (or disappeared) Indian, white America relegated native communities to the margins of society. Then, “like a hurricane” (in the words of Robert Warrior and Paul Chaat Smith), the take-over of Alcatraz Island in 1969, the seizure of the Bureau of Indian Affairs in 1972, and finally the 1973 occupation of Wounded Knee–a dramatic series of events which placed First Nations at the heart of the era’s great social upheavals. But does this snapshot tell the whole story? In his fascinating new book Red Power Rising: The National Indian Youth Council and the Origins of Native Activism (University of Oklahoma Press, 2011), Bradley Shreve finds the roots of American Indian activism in the nascent inter-tribal organizing of the early 20th century and the various attempts at fashioning independent organizations of dedicated native youth over the following decades. In the process, Shreve demonstrates how the militant actions of the 1960s and 70s “followed in the footsteps of an earlier generation.” He writes, “Indeed, movements for social change do not emerge in a vacuum. They are built upon precedent, they incorporate and borrow ideas from the past, and they may find inspiration from contemporaries.” This is a story of the past informing the present, of movements building on tradition, and the dramatic arrival of an era of self-determination. Learn more about your ad choices. Visit megaphone.fm/adchoices