Podcasts about Smithsonian Institution

Museum lobbies have a huge influence on visitor experience. But what makes a good lobby?What is a “liminal space” in a museum? How does research actually work? What does “peer-reviewed research” actually mean? What do researchers hope their outcomes will be? Which department of a museum is even responsible for the lobby, and all the other “spaces in between”?Dan Clevenger (Principal), Monika Smith (Principal), and Helen Ho (Senior Associate, Senior Design Researcher) from DLR Group discuss “Liminal Space Research” with MtM host Jonathan Alger (Managing Partner, C&G Partners | The Exhibition and Experience Design Studio).Along the way: wonder, awe, gaps in the literature, and all the spaghetti you can throw at a cupboard.Talking Points:1. DLR Group and the research team2. What is a “liminal space”?3. How research works4. The peer review process5. What the outcome will be6. Sneak peek: things learned so farHow to Listen:Listen on Apple Podcasts:https://podcasts.apple.com/us/podcast/making-the-museum/id1674901311  Listen on Spotify:https://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G  Listen at Making the Museum, the Website:https://www.makingthemuseum.com/podcast  Links to Every Podcast Service, via Transistor:https://makingthemuseum.transistor.fm/  Guest Bios:Dan Clevenger, AIA, LEED BD+C, Principal, Global Cultural + Performing Arts Leader, DLR Group. Dan Clevenger is an award-winning arts and cultural programmer, designer, and leader with more than two decades of experience across all phases of design and project development. His portfolio spans art museums, science centers, history museums, and natural history institutions, including the Heard Museum, Arizona Science Center, Chandler History Museum, C.N. Gorman Museum at UC Davis, the Sheldon Museum of Art at the University of Nebraska, Lincoln, and the University of Arizona Arts Master Plan. His work reflects a consistent commitment to institutions that strengthen their communities with purpose and longevity. Dan serves as a board member of the Western Museum Association and the Arizona State University Art Museum Creative Impact Board. Monika Smith, AIA, Principal, Cultural+Performing Arts Design Leader, DLR Group. Monika Smith brings a rigorous design craft to some of the most complex museum environments in the country. A senior designer with 28 years of experience in cultural facilities and historic preservation, she is known for technically demanding work across new construction, adaptive reuse, and landmark renovation. Her portfolio includes the Albany Museum of Art, Frontier Culture Museum of Virginia, Library of Congress Conservation Lab, and the Smithsonian Institution. Monika is a juror for the Mid-Atlantic Association of Museums Buildy Awards.Helen Ho, PhD, EDAC, Senior Associate, Senior Design Researcher, DLR Group. Helen Ho helps cultural institutions make informed, community-centered design decisions. With more than a decade of mixed-methods research experience, she connects stakeholder engagement, post-occupancy evaluation, and evidence-based frameworks to outcomes that matter: visitor wellbeing, spatial equity, and long-term institutional impact. She translates complex community needs into clear design metrics and research-informed strategies that support meaningful, people-centered spaces. Helen holds a Ph.D. in Communication Studies from the University of Michigan. She is an EDAC professional and an AIA Associate Member.About Making the Museum:Making the Museum is a newsletter and podcast on exhibitions, written and hosted by Jonathan Alger. MtM is a project of C&G Partners | The Exhibition and Experience Design Studio.Learn more about the creative work of C&G Partners:https://www.cgpartnersllc.com/  Links for This Episode:Dan Clevenger: dclevenger@dlrgroup.com  Monika Smith: msmith@dlrgroup.com  Helen Ho: hho@dlrgroup.com  The Cultural+Performing Arts / Museums Practice at DLR Group   Strategic Research Partnerships Yield Museum Design Insights, at DLR Group  Heard Museum by DLR Group  Albany Museum of Art Adaptive Reuse by DLR Group  Smithsonian American Art Museum's Renwick Gallery by DLR Group  Links for Making the Museum, the Podcast:Contact Making the Museum:https://www.makingthemuseum.com/contact  Host Jonathan Alger, Managing Partner of C&G Partners, on LinkedIn:https://www.linkedin.com/in/jonathanalger  Email Jonathan Alger:alger@cgpartnersllc.com  C&G Partners | The Exhibition and Experience Design Studio:https://www.cgpartnersllc.com/  Making the Museum, the Newsletter:Like the show? You might enjoy the newsletter. Making the Museum is also a free weekly email about exhibitions for museum leaders and teams. (And newsletter subscribers are the first to hear about new episodes of this podcast.)Join hundreds of your peers with a one-minute read, three times a week. Invest in your career with a diverse, regular feed of planning and design insights, practical tips, and tested strategies — including thought-provoking approaches to technology, experience design, audience, budgeting, content, and project management.Subscribe to the newsletter:https://www.makingthemuseum.com/ 

Joey Kirkpatrick and Flora C. Mace consistently invite us to enter a meditative state. Whatever the medium, each piece seems to raise more questions than provide answers. The artists, respected for their innovative work, have concluded the series for which they are most known, large-scale blown glass fruit and vegetable forms. Their subsequent work includes life-size figurative wood and glass sculptures as well as outdoor bronze installations and glass work that features blown vessels and cast panels with illustrations of the 'first facts' of bird identification realized through applied glass powder drawings. Most recently, the artists have been working on their Botanicals, a body of work that preserves real flowers in composite and glass.  Kirkpatrick and Mace have worked collaboratively for the past 47 years after meeting at the Pilchuck Glass School in 1979. The artists have consistently explored seminal themes: principles of drawing as incorporated into glass, the metaphoric content of human relationship to nature and the appropriation of materials to support a visual idea. They recently installed a large public art project at the Seattle Center in Seattle, Washington.  Kirkpatrick (born in Des Moines, Iowa, 1952) and Mace (born in Exeter, New Hampshire, 1949) have exhibited, lectured and taught extensively throughout the world. They taught for 12 years at Pilchuck Glass School. Their collaborative work is included in collections and museums around the world including the Corning Museum of Glass, NY; The Detroit Institute of Art Detroit, MI; The Boston Museum of Fine Art, Boston, MA; Hokkaido Museum, Japan; Metropolitan Museum of Art, New York NY; Musee des Arts Decoratifs, Lausanne, Switzerland; Seattle Art Museum, Seattle, WA; Toledo Art Museum, Toledo, OH and The National Museum of American Art, Renwick Gallery, Smithsonian Institution, Washington, D.C.  Mark Doty, wrote in the introduction of the book, Joey Kirkpatrick and Flora C Mace: "This might be the most complex yoking of all, the way that two sensibilities overlap, merge, separate, conflict and resolve. A continuing dynamic, itself both unstable and solid, evolving, transforming materials and processes as it transforms itself." Kirkpatrick and Mace were recognized in 2019 for their outstanding achievement in the field of contemporary glass art by the Art Alliance for Contemporary Glass, and have been elected to the American Craft Fellows in 2005, interviewed for the Smithsonian Archives of American Art in 2006 and given the 2001 Chateau Ste. Michelle Libensky Award by Pilchuck Glass School honoring outstanding contemporary artists working in glass. Kirkpatrick served as a trustee on the board of Pilchuck Glass School for 16 years.  Now, the artists split their time between a home and studio in Seattle, Washington, and a farm on the Olympic Peninsula near the Washington Coast. Their current Botanical sculptures grew out of a desire to capture the essence of a plant by preserving it through portraiture. Each plant is harvested as it shares its bloom, brought into the studio, deconstructed, dried and reassembled. The specimen is then suspended within layers of composites and glass. The finished work has been recreated through the artist's hand and dependent on the artist's view of the specimen by observing in life, the plant's structure, the result, a portrait of a flower. Of their Botanical sculpture, Daniel J. Hinkley, plantsman wrote: "The works of Joey Kirkpatrick and Flora C. Mace capture the improbable if not the impossible, the apprehension of not just a moment reflecting the magic and majesty of our natural world but the abduction and amplification of a precise moment of perfection. To say that the paragon of their subjects has been frozen in time implies incorrectly that what you observe in their work is not simply an expiration and preservation of a plant at its floral zenith. These flowers embody the mystery and beauty, comprehended and embraced by the artists, to such a degree that one might actually perceive its ultimate drop of petal, abscission of leaf or growth of root." A selection of Kirkpatrick and Mace works is also on view now at the Corning Museum of Glass, Corning, New York, in Tough Stuff: Women in the American Glass Studio. The exhibition showcases the groundbreaking creators who shaped the past and future of glass art.   

The Smithsonian Institution in Washington, D.C. has faced unprecedented scrutiny and government interference since President Trump came to power. Now, its long cherished plans for a Smithsonian American Women's History Museum on the National Mall in D.C. have been dealt a blow because the US House of Representatives has struck down a bill to build the museum. Ben Luke talks to Elena Goukassian, The Art Newspaper's senior editor of museums and heritage in New York, about the partisan rift that led to failure of the bill, as well as other developments relating to the Smithsonian. As part of London Gallery Weekend, which begins on 5 June, the British artist Oliver Beer will show new paintings and related sound and video works in an exhibition, The Sky in the Cave, at Thaddaeus Ropac. The show relates to Beer's opus Resonance Project: The Cave, in which he brought eight singers into a prehistoric painted cave in the Dordogne in France to respond to its particular acoustic frequencies. Among them was the singer songwriter Rufus Wainwright, and Ben speaks to Oliver and Rufus about their collaboration. And this episode's Work of the Week is Painting with Two Balls by Jasper Johns. It is part of a new retrospective of the American artist's work at the Guggenheim Bilbao, Night Driver. Ben talks to the exhibition's curator, Enrique Juncosa.Oliver Beer: The Sky in the Cave, Thaddaeus Ropac, London, 5 June—31 July. Oliver and Rufus will be in conversation at the gallery on Friday 5 June, 12.00;Visit rufuswainwright.comJasper Johns: Night Driver, Guggenheim Bilbao, 29 May-12 October. Hosted on Acast. See acast.com/privacy for more information.

Deborah Santana is an author, activist, philanthropist, and business leader dedicated to peace, justice, and women's empowerment. The founder of the nonprofit, Do a Little, she advocates for women and girls through global education and health initiatives and has worked with the Smithsonian Institution, The Children's Defense Fund, and other important organizations. She has also produced five documentary films highlighting the work of non-profits in Africa. And she's the author of two memoirs— something you can do only if you've lived an exceptionally interesting life. The first was Space Between the Stars, which was about coming of age as the child of a pioneering interracial couple. The other is a new release, Loving the Fire: Choosing Me, Finding Freedom, which is about the spiritual awakening and rebirth that followed her decision to leave her 34-year marriage to music legend Carlos Santana. Running through it all is a dedication to a multi-faceted spiritual path, which includes earning a masters degree in philosophy and religion with a concentration in women's spirituality. It was a warm, delightful, and illuminating conversation. Learn more about your ad choices. Visit megaphone.fm/adchoices

The House Appropriations Committee wants to reduce EPA's budget for fiscal 2027 by $1.8 billion or 20%. At the same time as part of the Interior, Environment and related agencies spending bill, lawmakers are increasing funding for the Interior Department by almost $700 million. The funding bill also supports President Trump's effort to unify Interior firefighting entities and cuts funding for climate programs. Additionally, the bill would reduce funding for the Smithsonian Institution, the National Gallery of Art and the National Endowment for the Humanities.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

8:05PM: The American Academy of Pediatrics finds kids of all ages K-12 need regular recess for physical and mental health. First new guidance in 13 years about this unstructured time at school and how it needs to be protected. Guest: Dr. Charles Hannum, MD, General Pediatrician at Tufts Medical Center 8:15PM: Boston 2026 World Expo offers 8 days of free, first-class fun for all ages. Happening May 23-30, 2026 at the Boston Convention & Exhibition Center.- Sponsored by the United States Postal Service, Boston 2026 will play host to all sorts of collectors, former collectors and folks interested in history, geography and art. With over 1,000 fascinating displays and 300+ presentations on all sorts of topics (many of them provided by the Smithsonian Institution). Guest: Lloyd de Vries - former ABC/CBS/NPR Writer/Producer - President of two of the stamp collecting organizations participating in this show, the Writers Unit and the American First Day Cover Society. Both have meetings and seminars at the show. 8:30PM: Red Sox inconsistency, clubhouse dynamics, trade deadline outlook, and front-office scrutiny. Guest: Peter Abraham – Boston Globe sportswriter and columnist 8:45PM: Women’s football finally gets its Olympic spotlight & Women’s flag football could become an NCAA sport… Guest: Andra Douglas - former national champion in rugby and quarterback in women’s tackle football, she later became a creative executive at Atlantic Records—and for nearly two decades owned the two-time national champion New York Sharks women’s pro football team, She also wrote a book that just came out: Changing Cadence: Friendship, Football and the Art of TransitionSee omnystudio.com/listener for privacy information.

How do you build a museum?How do you build the right project team? How do you engage with community? What does it mean to plan a museum? What does it mean to design a museum? How do you align your budget with your purpose? How do you build the story of your museum project?Jamē Anderson, Monteil Crawley, Sarah Ghorbanian, and Chris Wood from SmithGroup discuss “Building a Museum: This is Not a Manual (the New Book)” with MtM host Jonathan Alger (Managing Partner, C&G Partners | The Exhibition and Experience Design Studio).Along the way: a one-year process that took ten years, a mystery fifth guest, and branching out to herbal supplements.Talking Points:1. Why a book like this?2. How do I build the right project team, and what does it mean to engage with the community?3. What does it mean to plan and design a museum?4. How do I align budget with purpose?5. How do you write a book?6. How do I learn more from my network?How to Listen:Listen on Apple Podcasts:https://podcasts.apple.com/us/podcast/making-the-museum/id1674901311  Listen on Spotify:https://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G  Listen at Making the Museum, the Website:https://www.makingthemuseum.com/podcast  Links to Every Podcast Service, via Transistor:https://makingthemuseum.transistor.fm/Guest Bios:Jamē Anderson is a vice president and director of SmithGroup's national team of architects, planners, and engineers who focus exclusively on cultural capital projects. Her career is dedicated to cultural institutions, having held roles at the National Gallery of Art and Smithsonian Institution in addition to her tenure at SmithGroup. Monteil Crawley is a senior principal at SmithGroup and a leading expert in the design of museums and cultural facilities, shaping a unique design vision for each facility and institution. He has spent his career with SmithGroup designing prominent spaces and places that celebrate and reveal the history and culture of the United States. Sarah Ghorbanian is a principal at SmithGroup who specializes in the planning and project management of complex cultural projects. She is an expert at coordinating the intersection of architecture and exhibition design to create compelling, holistic, and engaging experiences for museum audiences. Chris Wood is a vice president at SmithGroup and leads the firm's Washington, D.C., studio of design and engineering specialists devoted to cultural projects. He leads design teams for cultural capital projects of all scales and is a recognized expert in the planning and design of museums and collections facilities. About Making the Museum:Making the Museum is a newsletter and podcast on exhibitions, written and hosted by Jonathan Alger. MtM is a project of C&G Partners | The Exhibition and Experience Design Studio.Learn more about the creative work of C&G Partners:https://www.cgpartnersllc.com/ Links for This Episode:The Book: https://www.smithgroup.com/buildingamuseum  SmithGroup: https://www.smithgroup.com  Jamē Anderson: Jame.Anderson@smithgroup.com Monteil Crawley: Monteil.Crawley@smithgroup.com  Sarah Ghorbanian: Sarah.Ghorbanian@smithgroup.com  Chris Wood: Chris.Wood@smithgroup.com Links for Making the Museum, the Podcast:Contact Making the Museum:https://www.makingthemuseum.com/contact Host Jonathan Alger, Managing Partner of C&G Partners, on LinkedIn:https://www.linkedin.com/in/jonathanalger Email Jonathan Alger:alger@cgpartnersllc.com C&G Partners | The Exhibition and Experience Design Studio:https://www.cgpartnersllc.com/ Making the Museum, the Newsletter:Like the show? You might enjoy the newsletter. Making the Museum is also a free weekly email about exhibitions for museum leaders and teams. (And newsletter subscribers are the first to hear about new episodes of this podcast.)Join hundreds of your peers with a one-minute read, three times a week. Invest in your career with a diverse, regular feed of planning and design insights, practical tips, and tested strategies — including thought-provoking approaches to technology, experience design, audience, budgeting, content, and project management.Subscribe to the newsletter:https://www.makingthemuseum.com/ 

BYU-Idaho is partnering with the Smithsonian Institution to conduct research on the Lewis and Clark trail. Volunteers will set up motion-sensing cameras in BYUI's section of the trail to analyze the wildlife activity.

Over his 40+-year career, Sohn Lewis has reupholstered thousands of pieces of furniture and other items, including antiques, walls, and automobile and boat interiors. One of his more notable projects includes upholstering hundreds of replicated seats for the 2000s renovation of Ford's Theatre in Washington, D.C. His work also appears in the Smithsonian Institution, a few embassies, and the Maryland governor's office, Senate chambers, and statehouse. He's done work for Joseph Furniture Restoration (Columbia), Johnson Berman (Baltimore), Ibello Upholstery (Baltimore), and Iatesta Studio (Kent Island). He is the lead upholsterer and instructor at The Cavanagh House in Baltimore.   The Sew Much More Podcast is sponsored by;     Klimaka Studios   The Workroom Channel   Scarlet Thread Consulting   The WCAA   The Curtains and Soft Furnishings Resource Library   National Upholstery Association   Workroom Tech    

298# The Grand Canyon Cover-Up | Egypt in America?tonight we're heading somewhere unexpected—somewhere vast, ancient… and hiding a story that doesn't quite fit the official narrative.Because buried deep within the walls of the Grand Canyon, one of the most studied natural landmarks on Earth, there's a claim that shouldn't exist… and yet, it does.Back in 1909, a report surfaced—published in the Arizona Gazette—describing a discovery that sounds more like something out of a lost chapter of history than reality itself. A hidden underground complex. Massive chambers carved into the rock. Artefacts resembling those of ancient Egypt. Hieroglyphs. Mummified remains.And then… silence.No follow-up. No confirmed excavation. No official acknowledgment from institutions like the Smithsonian Institution, who were supposedly involved. Just a story that appeared… and then seemed to vanish into the canyon itself.So what was it?A hoax? A misinterpretation? Or something that was quietly buried—literally and historically—because it challenged everything we think we know about ancient civilizations and their reach?Tonight, we're pulling apart the legend of the Egyptian tomb in the Grand Canyon. We'll look at the original report, the missing evidence, and the theories that range from the plausible… to the completely mind-bending.Because if even a fraction of this story is true… then history, as we understand it, might not just be incomplete—…it might be entirely wrong.

What if I told you that one of the most important stories ever told… isn't finished yet—and you're part of it? Right now, in Putnam County, something remarkable is happening. A traveling exhibit from the Smithsonian Institution has made its first stop in Georgia—not in Atlanta, not in Savannah—but right here in our own backyard. It's called Voices and Votes: Democracy in America… and it's far more than a walk through history. This exhibit brings to life nearly 250 years of the American experiment—how a nation built on the idea of “of, by, and for the people” has been shaped, challenged, tested, and reimagined by every generation. But what makes this truly special… is that it doesn't just tell the national story. It tells our story. Alongside the national exhibit is a powerful look at the history of democracy right here in Putnam County—real people, real voices, and real moments that have helped shape this community in ways most of us have never fully seen or understood. And here's the thing—this isn't a passive experience. It's interactive. It's engaging. It might even challenge the way you think about your role in the ongoing story of this country. Because democracy isn't something that just happened. It's something that continues to happen—through action, through participation… and through people. Today, I'm joined by Chip Bell of the Georgia Writers Museum to talk about this incredible exhibit, why it matters right now, and why this is truly a once-in-a-lifetime opportunity for our community. So whether you're a history buff… a curious learner… or just someone who wants to better understand the story we're all living in— You're going to want to hear this. And more importantly… you're going to want to experience it. Guests: Chip Bell, Georgia Writers Museum Board of Directors For more information: Georgia Writers Museum Voices & Votes Website: https://www.georgiawritersmuseum.org/voices-and-votes/ GWM Website: https://www.georgiawritersmuseum.org/ Phone: 706-991-5119 Sponsors: Tim Broyles State Farm Insurance https://mydowntownagency.com/ Lake Oconee Family Fitness & Fero Fit https://loffc.net/ Second Chance Boutique https://colinc.org/second-chance-boutique/

Media Rurality (Duke UP, 2026), edited by Darin Barney and Patrick Brodie, investigates the centrality of rural places and people within the media systems and technologies that shape daily life in and across rural and urban settings alike. Edited by Darin Barney and Patrick Brodie, from the boglands of Ireland to data centers in the Oregon countryside to the homemade media systems of rural Tanzania, the contributors to this volume show how rural territories are highly mediated, technologized spaces profoundly enmeshed with global capitalism and colonialism. Approaching the study of rurality through a materialist lens that foregrounds infrastructure, this collection shows how rural spaces often bear the environmental brunt of capitalist development while being relegated to the economic and cultural periphery.Contributors: Christopher Ali, Patrick Bresnihan, Patrick Brodie, Darin Barney, Jenna Burrell, Jordan B. Kinder, Burç Köstem, Cindy Lin, Emily Ng, Lisa Parks, Anne Pasek, Esther Peeren, Nicole Starosielski, Ishita Tiwary, Hunter Vaughan, Ayesha Vemuri, Megan Wiessner, Assatu Wisseh.  This episode features a conversation with host Sadie Couture, editors Patrick Brodie and Darin Barney, and contributors Burç Köstem and  Megan Wiessner.  Sadie Couture is a PhD candidate in Communication Studies at McGill University, and an incoming Postdoctoral Research Fellow at the Smithsonian Institution's National Museum of American History. https://www.sadiecouture.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Media Rurality (Duke UP, 2026), edited by Darin Barney and Patrick Brodie, investigates the centrality of rural places and people within the media systems and technologies that shape daily life in and across rural and urban settings alike. Edited by Darin Barney and Patrick Brodie, from the boglands of Ireland to data centers in the Oregon countryside to the homemade media systems of rural Tanzania, the contributors to this volume show how rural territories are highly mediated, technologized spaces profoundly enmeshed with global capitalism and colonialism. Approaching the study of rurality through a materialist lens that foregrounds infrastructure, this collection shows how rural spaces often bear the environmental brunt of capitalist development while being relegated to the economic and cultural periphery.Contributors: Christopher Ali, Patrick Bresnihan, Patrick Brodie, Darin Barney, Jenna Burrell, Jordan B. Kinder, Burç Köstem, Cindy Lin, Emily Ng, Lisa Parks, Anne Pasek, Esther Peeren, Nicole Starosielski, Ishita Tiwary, Hunter Vaughan, Ayesha Vemuri, Megan Wiessner, Assatu Wisseh.  This episode features a conversation with host Sadie Couture, editors Patrick Brodie and Darin Barney, and contributors Burç Köstem and  Megan Wiessner.  Sadie Couture is a PhD candidate in Communication Studies at McGill University, and an incoming Postdoctoral Research Fellow at the Smithsonian Institution's National Museum of American History. https://www.sadiecouture.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Media Rurality (Duke UP, 2026), edited by Darin Barney and Patrick Brodie, investigates the centrality of rural places and people within the media systems and technologies that shape daily life in and across rural and urban settings alike. Edited by Darin Barney and Patrick Brodie, from the boglands of Ireland to data centers in the Oregon countryside to the homemade media systems of rural Tanzania, the contributors to this volume show how rural territories are highly mediated, technologized spaces profoundly enmeshed with global capitalism and colonialism. Approaching the study of rurality through a materialist lens that foregrounds infrastructure, this collection shows how rural spaces often bear the environmental brunt of capitalist development while being relegated to the economic and cultural periphery.Contributors: Christopher Ali, Patrick Bresnihan, Patrick Brodie, Darin Barney, Jenna Burrell, Jordan B. Kinder, Burç Köstem, Cindy Lin, Emily Ng, Lisa Parks, Anne Pasek, Esther Peeren, Nicole Starosielski, Ishita Tiwary, Hunter Vaughan, Ayesha Vemuri, Megan Wiessner, Assatu Wisseh.  This episode features a conversation with host Sadie Couture, editors Patrick Brodie and Darin Barney, and contributors Burç Köstem and  Megan Wiessner.  Sadie Couture is a PhD candidate in Communication Studies at McGill University, and an incoming Postdoctoral Research Fellow at the Smithsonian Institution's National Museum of American History. https://www.sadiecouture.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Media Rurality (Duke UP, 2026), edited by Darin Barney and Patrick Brodie, investigates the centrality of rural places and people within the media systems and technologies that shape daily life in and across rural and urban settings alike. Edited by Darin Barney and Patrick Brodie, from the boglands of Ireland to data centers in the Oregon countryside to the homemade media systems of rural Tanzania, the contributors to this volume show how rural territories are highly mediated, technologized spaces profoundly enmeshed with global capitalism and colonialism. Approaching the study of rurality through a materialist lens that foregrounds infrastructure, this collection shows how rural spaces often bear the environmental brunt of capitalist development while being relegated to the economic and cultural periphery.Contributors: Christopher Ali, Patrick Bresnihan, Patrick Brodie, Darin Barney, Jenna Burrell, Jordan B. Kinder, Burç Köstem, Cindy Lin, Emily Ng, Lisa Parks, Anne Pasek, Esther Peeren, Nicole Starosielski, Ishita Tiwary, Hunter Vaughan, Ayesha Vemuri, Megan Wiessner, Assatu Wisseh.  This episode features a conversation with host Sadie Couture, editors Patrick Brodie and Darin Barney, and contributors Burç Köstem and  Megan Wiessner.  Sadie Couture is a PhD candidate in Communication Studies at McGill University, and an incoming Postdoctoral Research Fellow at the Smithsonian Institution's National Museum of American History. https://www.sadiecouture.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Media Rurality (Duke UP, 2026), edited by Darin Barney and Patrick Brodie, investigates the centrality of rural places and people within the media systems and technologies that shape daily life in and across rural and urban settings alike. Edited by Darin Barney and Patrick Brodie, from the boglands of Ireland to data centers in the Oregon countryside to the homemade media systems of rural Tanzania, the contributors to this volume show how rural territories are highly mediated, technologized spaces profoundly enmeshed with global capitalism and colonialism. Approaching the study of rurality through a materialist lens that foregrounds infrastructure, this collection shows how rural spaces often bear the environmental brunt of capitalist development while being relegated to the economic and cultural periphery.Contributors: Christopher Ali, Patrick Bresnihan, Patrick Brodie, Darin Barney, Jenna Burrell, Jordan B. Kinder, Burç Köstem, Cindy Lin, Emily Ng, Lisa Parks, Anne Pasek, Esther Peeren, Nicole Starosielski, Ishita Tiwary, Hunter Vaughan, Ayesha Vemuri, Megan Wiessner, Assatu Wisseh.  This episode features a conversation with host Sadie Couture, editors Patrick Brodie and Darin Barney, and contributors Burç Köstem and  Megan Wiessner.  Sadie Couture is a PhD candidate in Communication Studies at McGill University, and an incoming Postdoctoral Research Fellow at the Smithsonian Institution's National Museum of American History. https://www.sadiecouture.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

(Host: Christine) In the mid-18th century, the illegitimate son of a British noble was born in France. In the mid-19th century, the Smithsonian Institution was founded in the United States. What do these two seemingly unrelated things have to do with each other? Find out in this week's episode of Footnoting History, as we look at the history of James Smithson–the man behind the creation of the Smithsonian Institution.   For further reading suggestions and more, please visit: https://www.footnotinghistory.com

What if the stories and legends concerning ancient giants are more than just myth—and what if some of the evidence was quietly hidden? In this episode I sit down with Jim Vieira, author of the new book "Footprints of the Gods: Extra Digits and the Mark of Giants" to explore the controversial claims surrounding giant skeleton discoveries and the role of the Smithsonian Institution, including allegations of a long-standing coverup. Separating documented history from speculation, we dive into the ancient legends, historical accounts, and the unanswered questions that continue to fuel this mystery. Is there a giant cover-up? Watch and decide for yourselfGET JIM'S BOOK HEREJOIN ME ON A 2026 TOUR

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

En NEGRAS, conversamos con Gloriann Sacha Antonetty Lebrón y Juan Pablo Vizcaíno Cortijo sobre la obra de videoarte Hebras y Vejigantes, que se exhibe en el National Portrait Gallery, de la Smithsonian Institution, en Washington D.C.Mujeres afrodescendientes conversan sobre proyectos, académicos y comunitarios, relacionados a la negritud y la racialización en Puerto Rico. Aprende de los saberes de mujeres afrodescendientes y desaprende mitos que, históricamente, han degradado a las personas visiblemente negras en la nación puertorriqueña. Una producción de Colectivo Ilé ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.colectivoile.org/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ para Radio Universidad de Puerto Rico. Viernes 3:00 pm a través del 89.7 FM en San Juan, el 88.3 FM en Mayagüez

The Origins of the New (Princeton University Press, 2026) presents a revolutionary approach to evolutionary success in all realms of life. In this groundbreaking book, Douglas Erwin takes readers on a dazzling excursion across science and history to explore how evolution generates new and enduring features in biology, culture, and technology.Erwin begins by tracing how thinkers from Darwin's time to the present day have sought to discover the driving mechanisms of evolutionary novelty. He then lays out compelling empirical evidence for separating novelty from innovation, showing that novelty involves the emergence of unique characteristics, while innovation concerns the success of those characteristics over time. Erwin develops a unifying conceptual framework for these powerful dynamics, demonstrating how they have shaped everything from the evolution of avian feathers and flight to the creation of human language and the breathtaking advances in digital computing we're witnessing today.A landmark work that redefines our understanding of the changes happening all around us, The Origins of the New reveals how the forces of novelty and innovation are the same across nature and culture, continually producing new forms and refashioning the world as we know it. Our guest is doctor Doug Erwin, who is an independent researcher at the Santa Fe Institute, after retiring as Senior Scientist and Curator of Paleobiology at the National Museum of Natural History of the Smithsonian Institution. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Smithsonian Institution National Air & Space Museum's Jennifer Levasseur discusses the history of the 135-mission Space Shuttle program (1981-2011), its accomplishments, and two tragic failures that led to the deaths of 14 shuttle astronauts. Ms. Levasseur, the curator in charge of the Space Shuttle Discovery at the Air & Space Museum's Udvar-Hazy Center in Virginia, where this interview took place, also takes us on a tour of the shuttle orbiter. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Origins of the New (Princeton University Press, 2026) presents a revolutionary approach to evolutionary success in all realms of life. In this groundbreaking book, Douglas Erwin takes readers on a dazzling excursion across science and history to explore how evolution generates new and enduring features in biology, culture, and technology.Erwin begins by tracing how thinkers from Darwin's time to the present day have sought to discover the driving mechanisms of evolutionary novelty. He then lays out compelling empirical evidence for separating novelty from innovation, showing that novelty involves the emergence of unique characteristics, while innovation concerns the success of those characteristics over time. Erwin develops a unifying conceptual framework for these powerful dynamics, demonstrating how they have shaped everything from the evolution of avian feathers and flight to the creation of human language and the breathtaking advances in digital computing we're witnessing today.A landmark work that redefines our understanding of the changes happening all around us, The Origins of the New reveals how the forces of novelty and innovation are the same across nature and culture, continually producing new forms and refashioning the world as we know it. Our guest is doctor Doug Erwin, who is an independent researcher at the Santa Fe Institute, after retiring as Senior Scientist and Curator of Paleobiology at the National Museum of Natural History of the Smithsonian Institution. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science

The Origins of the New (Princeton University Press, 2026) presents a revolutionary approach to evolutionary success in all realms of life. In this groundbreaking book, Douglas Erwin takes readers on a dazzling excursion across science and history to explore how evolution generates new and enduring features in biology, culture, and technology.Erwin begins by tracing how thinkers from Darwin's time to the present day have sought to discover the driving mechanisms of evolutionary novelty. He then lays out compelling empirical evidence for separating novelty from innovation, showing that novelty involves the emergence of unique characteristics, while innovation concerns the success of those characteristics over time. Erwin develops a unifying conceptual framework for these powerful dynamics, demonstrating how they have shaped everything from the evolution of avian feathers and flight to the creation of human language and the breathtaking advances in digital computing we're witnessing today.A landmark work that redefines our understanding of the changes happening all around us, The Origins of the New reveals how the forces of novelty and innovation are the same across nature and culture, continually producing new forms and refashioning the world as we know it. Our guest is doctor Doug Erwin, who is an independent researcher at the Santa Fe Institute, after retiring as Senior Scientist and Curator of Paleobiology at the National Museum of Natural History of the Smithsonian Institution. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023).

The Origins of the New (Princeton University Press, 2026) presents a revolutionary approach to evolutionary success in all realms of life. In this groundbreaking book, Douglas Erwin takes readers on a dazzling excursion across science and history to explore how evolution generates new and enduring features in biology, culture, and technology.Erwin begins by tracing how thinkers from Darwin's time to the present day have sought to discover the driving mechanisms of evolutionary novelty. He then lays out compelling empirical evidence for separating novelty from innovation, showing that novelty involves the emergence of unique characteristics, while innovation concerns the success of those characteristics over time. Erwin develops a unifying conceptual framework for these powerful dynamics, demonstrating how they have shaped everything from the evolution of avian feathers and flight to the creation of human language and the breathtaking advances in digital computing we're witnessing today.A landmark work that redefines our understanding of the changes happening all around us, The Origins of the New reveals how the forces of novelty and innovation are the same across nature and culture, continually producing new forms and refashioning the world as we know it. Our guest is doctor Doug Erwin, who is an independent researcher at the Santa Fe Institute, after retiring as Senior Scientist and Curator of Paleobiology at the National Museum of Natural History of the Smithsonian Institution. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices

The Origins of the New (Princeton University Press, 2026) presents a revolutionary approach to evolutionary success in all realms of life. In this groundbreaking book, Douglas Erwin takes readers on a dazzling excursion across science and history to explore how evolution generates new and enduring features in biology, culture, and technology.Erwin begins by tracing how thinkers from Darwin's time to the present day have sought to discover the driving mechanisms of evolutionary novelty. He then lays out compelling empirical evidence for separating novelty from innovation, showing that novelty involves the emergence of unique characteristics, while innovation concerns the success of those characteristics over time. Erwin develops a unifying conceptual framework for these powerful dynamics, demonstrating how they have shaped everything from the evolution of avian feathers and flight to the creation of human language and the breathtaking advances in digital computing we're witnessing today.A landmark work that redefines our understanding of the changes happening all around us, The Origins of the New reveals how the forces of novelty and innovation are the same across nature and culture, continually producing new forms and refashioning the world as we know it. Our guest is doctor Doug Erwin, who is an independent researcher at the Santa Fe Institute, after retiring as Senior Scientist and Curator of Paleobiology at the National Museum of Natural History of the Smithsonian Institution. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

The Origins of the New (Princeton University Press, 2026) presents a revolutionary approach to evolutionary success in all realms of life. In this groundbreaking book, Douglas Erwin takes readers on a dazzling excursion across science and history to explore how evolution generates new and enduring features in biology, culture, and technology.Erwin begins by tracing how thinkers from Darwin's time to the present day have sought to discover the driving mechanisms of evolutionary novelty. He then lays out compelling empirical evidence for separating novelty from innovation, showing that novelty involves the emergence of unique characteristics, while innovation concerns the success of those characteristics over time. Erwin develops a unifying conceptual framework for these powerful dynamics, demonstrating how they have shaped everything from the evolution of avian feathers and flight to the creation of human language and the breathtaking advances in digital computing we're witnessing today.A landmark work that redefines our understanding of the changes happening all around us, The Origins of the New reveals how the forces of novelty and innovation are the same across nature and culture, continually producing new forms and refashioning the world as we know it. Our guest is doctor Doug Erwin, who is an independent researcher at the Santa Fe Institute, after retiring as Senior Scientist and Curator of Paleobiology at the National Museum of Natural History of the Smithsonian Institution. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

The Origins of the New (Princeton University Press, 2026) presents a revolutionary approach to evolutionary success in all realms of life. In this groundbreaking book, Douglas Erwin takes readers on a dazzling excursion across science and history to explore how evolution generates new and enduring features in biology, culture, and technology.Erwin begins by tracing how thinkers from Darwin's time to the present day have sought to discover the driving mechanisms of evolutionary novelty. He then lays out compelling empirical evidence for separating novelty from innovation, showing that novelty involves the emergence of unique characteristics, while innovation concerns the success of those characteristics over time. Erwin develops a unifying conceptual framework for these powerful dynamics, demonstrating how they have shaped everything from the evolution of avian feathers and flight to the creation of human language and the breathtaking advances in digital computing we're witnessing today.A landmark work that redefines our understanding of the changes happening all around us, The Origins of the New reveals how the forces of novelty and innovation are the same across nature and culture, continually producing new forms and refashioning the world as we know it. Our guest is doctor Doug Erwin, who is an independent researcher at the Santa Fe Institute, after retiring as Senior Scientist and Curator of Paleobiology at the National Museum of Natural History of the Smithsonian Institution. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices

The Origins of the New (Princeton University Press, 2026) presents a revolutionary approach to evolutionary success in all realms of life. In this groundbreaking book, Douglas Erwin takes readers on a dazzling excursion across science and history to explore how evolution generates new and enduring features in biology, culture, and technology.Erwin begins by tracing how thinkers from Darwin's time to the present day have sought to discover the driving mechanisms of evolutionary novelty. He then lays out compelling empirical evidence for separating novelty from innovation, showing that novelty involves the emergence of unique characteristics, while innovation concerns the success of those characteristics over time. Erwin develops a unifying conceptual framework for these powerful dynamics, demonstrating how they have shaped everything from the evolution of avian feathers and flight to the creation of human language and the breathtaking advances in digital computing we're witnessing today.A landmark work that redefines our understanding of the changes happening all around us, The Origins of the New reveals how the forces of novelty and innovation are the same across nature and culture, continually producing new forms and refashioning the world as we know it. Our guest is doctor Doug Erwin, who is an independent researcher at the Santa Fe Institute, after retiring as Senior Scientist and Curator of Paleobiology at the National Museum of Natural History of the Smithsonian Institution. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices

Lowriders have long turned city streets into moving works of art. Now, a new exhibit at the Smithsonian Institution is tracing the history of lowriding from its roots in Chicano communities to its influence on art and activism. Anthea Hartig, director of the National Museum of American History, talks about perhaps the most famous lowrider of all time, "Gypsy Rose." Then, in 1939, a Black aviator named Chauncey Spencer flew in a fragile biplane from Chicago to Washington, D.C., to advocate for Black representation among military pilots. Smithsonian curator Joseph Abel tells the story of that journey and the impact it made.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

It's a batch of great questions from the Crowdpurr library! This episode's topic: APRIL FOOLS PRANKS Host your own amazing quiz nights and bingo shows with Crowdpurr! New customers can get 25% off their first month on any upgraded plan and 10% off any annual plan using code BUDDS. Check it all out at www.crowdpurr.com/budds Fact of the Day: James Smithson, the founding donor of the Smithsonian Institution, never visited the US or had any known tie to the country. Triple Connections: Struck, Gate, Fish THE FIRST TRIVIA QUESTION STARTS AT 01:20 SUPPORT THE SHOW MONTHLY, LISTEN AD-FREE FOR JUST $1 A MONTH: www.Patreon.com/TriviaWithBudds INSTANT DOWNLOAD DIGITAL TRIVIA GAMES ON ETSY, GRAB ONE NOW!  GET A CUSTOM EPISODE FOR YOUR LOVED ONES:  Email ryanbudds@gmail.com Theme song by www.soundcloud.com/Frawsty Bed Music:  "Laser Groove" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ http://TriviaWithBudds.com http://Facebook.com/TriviaWithBudds http://Instagram.com/ryanbudds Book a party, corporate event, or fundraiser anytime by emailing ryanbudds@gmail.com or use the contact form here: https://www.triviawithbudds.com/contact SPECIAL THANKS TO ALL MY AMAZING PATREON SUBSCRIBERS, INCLUDING:   Samantha Wheeler Mark Kloppenburg Amber Shiels Alan Kreisel Rich Sommer Joe Heiman Waqas Ali Logan Booker Bringeka Sam Nathan Stenstrom Brooks Martin Robyn Price Gee Brian Clough Lauren Schuette Evan Lemons AnneMarie Mattacchione Yves Bouyssounouse Kenny Zail York yates Gay Geek Fabulous Mollie Dominic Nathalie Avelar Natasha raina leslie gerhardt Diane White Youngblood Trophy Husband Trivia Lynnette Keel Lillian Campbell Jerry Loven Jamie Greig Jeremy Yoder Adam Jacoby rondell Adam Suzan Tiffany Poplin Bill Bavar Sarah Daniel Hoisington Keith Martin Sue First Steve Hoeker Jessica Allen Lauren Glassman Brian Williams Brett Livaudais Linda Elswick Carter A. Fourqurean Justly Maya Brandon Lavin Kathy McHale Chuck Nealen Courtney French Nikki Long Mark Zarate Laura Palmer  JT Dean Bratton Kristy Erin Burgess Trenton Sullivan Jen and Nic Michael Redman Timothy Heavner Jeff Foust Richard Lefdal Myles Bagby Jenna Leatherman Vernon Heagy Albert Thomas Kimberly Brown Tracy Oldaker Sara Zimmerman Madeleine Garvey Jenni Yetter Patrick Leahy Dillon Enderby James Brown Christy Shipley Clayton Polizzi Alexander Calder Ricky Carney Paul McLaughlin Willy Powell Robert Casey Matthew Frost Brian Salyer Greg Bristow Megan Donnelly Jim Fields Mo Martinez Luke Mckay Simon Time Feana Nevel

Accenture Federal Services and Booz Allen Hamilton will take the lead on contracts to help the National Weather Service replace a legacy IT system and transition its weather data and resources to cloud-based technology. The two contracts, announced last week, are aimed at transferring the functions of the Advanced Weather Interactive Processing System (AWIPS) to two new tools in a move the agency says will improve availability of that data to forecasters across the nation. Among the anticipated benefits: access to the systems away from home offices and ability for forecasters to provide remote backup. As it stands, the AWIPS is an on-premises system and deployed at roughly 170 sites across the country, per a request for information the agency posted on the modernization effort last year. But that structure has drawbacks, Ken Graham, director of the National Weather Service, told FedScoop via email, pointing to the fact that the current operational system is physically installed and tied to each NWS office separately, limiting employees' ability to easily work alongside decision-makers, like local emergency operational centers.The two new cloud-based systems will change that, allowing forecasters to conduct their work — including creating and distributing forecasts and warnings — “without being tied to a specific location,” Graham said. Three years after launching a dashboard to provide agencies with a governmentwide view of the federal cybersecurity workforce, the Office of Personnel Management has stopped using the tool for its own planning, a new report found. According to the Government Accountability Office, OPM and five of the six other agencies examined by the congressional watchdog are no longer using the Cyber Workforce Dashboard, which went live in April 2023. The agencies cited “limitations” with the product, “including communications with OPM, access, functionality, and use of data,” per a GAO press release. The dashboard, which came out of a working group co-chaired by the Office of Management and Budget and the Office of the National Cyber Director, was created to support agencies in cyber workforce planning, helping them make data-driven decisions for current and future requirements. Overseen by the Strategic Workforce Planning and Forecasting Methods team under OPM's Workforce Policy and Innovation group, the dashboard tracked cyber workforce data for all 24 Chief Financial Officers Act agencies, as well as OMB, the Smithsonian Institution, and the National Archives and Records Administration, according to the GAO. In conducting its audit from January 2025 to March 2026, the watchdog was told by OPM officials that the human capital agency was not using the dashboard for its own cyber workforce planning purposes. The other agencies audited by the GAO were the Small Business Administration, the National Science Foundation, the General Services Administration, and the departments of Justice, State and Treasury. The GSA is the only one that still uses the tool. The Daily Scoop Podcast is available every Monday-Friday afternoon. If you want to hear more of the latest from Washington, subscribe to The Daily Scoop Podcast  on Apple Podcasts, Soundcloud, Spotify and YouTube.

March 28,2026Trump is attempting to rewrite our nation's history, Administration calls for putting Trump's ideology in place in federal historic sites, national parks, and museums, The Smithsonian Institution has been charged with aligning the work of all of its museums with Trump's effort to rewrite the past, On the anniversary of January 6, the White House released a website blaming the Democrats for the attack on the Capitol, When the National Park Service took down displays about the enslavement of black Americans at the Philadelphia home of George Washington, the city sued, American people are pushing back against the erasure of American history. Citizen historians are preserving the country's heritage, On March 28, millions gathered at No Kings demonstrations nationwide, remembering our complicated history and the true lessons of the past.Watch today's recording here: https://www.youtube.com/live/g9TUa1Rwd6U?si=T8_KKcHQZElhpnZ-Get full, free access to Letters from an American here: https://heathercoxrichardson.substack.com/subscribeYou can also find me:Bluesky: https://bsky.app/profile/hcrichardson.bsky.socialInstagram: https://www.instagram.com/heathercoxrichardson/?hl=enFacebook: https://www.facebook.com/heathercoxrichardson/YouTube: https://www.youtube.com/@heathercoxrichardson Get full access to Letters from an American at heathercoxrichardson.substack.com/subscribe

Episode No. 751 features artist Kahlil Robert Irving and curator Rebecca Head Trautmann. Irving is included in "Monuments," at the Museum of Contemporary Art, Los Angeles. The exhibition juxtaposes decommissioned Lost Cause monuments with artworks that address the histories the Lost Cause aimed to whitewash. "Monuments" features two Irvings: New Nation (States) Battle of Manassas - 2014, 2024-25; and Viewfinder, 2024 which address the 2014 police killing of Michael Brown Jr. in Ferguson, Missouri and its aftermath. The exhibition, which is on view through May 3, was curated by Hamza Walker, Kara Walker, and Bennett Simpson with Hannah Burstein and Paula Kroll. The museum says that a catalogue is forthcoming. Irving has had solo exhibitions at the Museum of Modern Art, New York, the Walker Art Center, Minneapolis, and at the Contemporary Art Museum Saint Louis; he's been featured in group exhibitions at the Carnegie Museum of Art in Pittsburgh, MASS MoCA in North Adams, Mass., the Whitney Museum of American Art in New York, and more. He was also a guest on Episode No. 591 in 2023. Trautmann is the curator of "Water's Edge: The Art of Truman Lowe" at the National Museum of the American Indian, Smithsonian Institution, Washington, DC. "Water's Edge" is the first career-length survey of Hoocąk (Ho-Chunk) artist. It is on view through January 1, 2027. Smithsonian Books published a catalogue of the exhibition; Amazon and Bookshop offer it for about $33-37. Instagram: Kahlil Robert Irving, Tyler Green. Air date: March 26, 2026.

Send us Fan MailIn this episode, we are joined by Laurie Gwen Shapiro, a bestselling author, journalist, and adjunct professor at NYU's Arthur L. Carter Journalism Institute. A member of the Explorers Club, her writing has appeared in The New Yorker, The Atlantic, and The New York Times. She is the author of The Stowaway, the true story of a teenager who stowed away on a ship bound for Antarctica during the Jazz Age, and The Aviator and the Showman: Amelia Earhart, George Putnam, and the Marriage that Made an American Icon, a New York Times Editors' Choice and one of the best books of the year by NPR, The New Yorker, and Smithsonian Magazine.But before our conversation with Laurie, we set the stage, because the Amelia Earhart story is deeply a Pan Am story.On January 9, 1929, three defining figures of the aviation age stood on the tarmac of Pan Am's new Miami terminal, Juan Trippe, Charles Lindbergh, and Amelia Earhart. Trippe invited Earhart aboard Pan Am's Fokker F-10A, captained by Edwin Musick, for the inaugural flight to Havana.At the center of that relationship was Fred Noonan, Pan Am's greatest navigator, who charted the transpacific routes. When Earhart assembled her team in 1937, Noonan was the navigator every conversation kept returning to. Trippe extended Pan Am's full cooperation, and Pan Am mechanics spent a week on her Lockheed Electra in Miami. On July 2, 1937, Earhart and Noonan departed Lae, New Guinea, bound for Howland Island - 2,556 miles of open ocean...and vanished.This episode also features rare archival audio from the Elgen and Marie Long oral history collection...aired publicly for the first time. Their 220-plus hours of recordings are preserved at the Smithsonian's National Air and Space Museum as the Amelia Earhart Project Recordings. Among those voices is Pan Am's Harry Canaday, recorded in 1985 at age 76, reflecting on Noonan, the Pacific survey flights, and the world that produced the Earhart flight.These recordings are presented courtesy of David Jourdan of Nauticos and the Smithsonian Institution's Amelia Earhart Project.Support the showVisit Us for more Pan Am History! Support the Podcast!Donate to the Museum!Visit The Hangar online store for Pan Am gear!Become a Member! Follow us on Facebook, Instagram, and Twitter!A very special thanks to Mr. Adam Aron, Chairman and CEO of AMC and president of the Pan Am Historical Foundation and  Pan Am Brands for their continued and unwavering support! 

In this episode of the Authority On Demand Podcast (formerly Authors On Mission Podcast), host Danielle Hutchinson sits down with Julian Raven to discuss his book Odious and Cerberus and his ongoing legal fight with the Smithsonian Institution.Julian shares how a portrait submission in 2015 sparked a decade-long First Amendment battle, now reaching the Supreme Court. His book blends legal analysis, personal narrative, humor, and satire—making complex issues of free speech and institutional power accessible to readers. He also opens up about the personal toll, the role of faith and family, and how writing became a source of healing and resilience.Listeners will discover:Why persistence and passion can sustain you through long battles.How humor and storytelling can make serious topics more engaging.Tips for writers on overcoming challenges and finding catharsis in their work.Insights into free speech, institutional accountability, and the power of creative expression.✨ Dive into the journeys of standout experts exploring how their books and speaking platforms helped them carve out their own Category of One in the Authority On Demand Podcast (formerly Authors On Mission Podcast):Youtube - https://www.youtube.com/@authorityondemand Facebook - https://www.facebook.com/authorityondemand/ Instagram - https://www.instagram.com/authority_on_demand/ LinkedIn - https://www.linkedin.com/company/authorityondemandcompany/ Captivate - https://feeds.captivate.fm/authorityondemand/ #AuthorityOnDemand #PodcastInterview #JulianRaven #OdiousAndCerberus #FreeSpeech #SmithsonianCase #AuthorsOnMission #WritingJourney #CategoryOfOne #PodcastCommunity

Subscribe today for access to our full catalog of bonus episodes, including 2+ new episodes every month! www.patreon.com/boysbiblestudy Much of what we know about history is a lie. The biggest lie of them all, both literally and figuratively, is the coverup of the existence of giants. Primary sources such as the Bible (heard of it?) speak of a race called the Nephilim. These larger-than-life offspring of angels and human women have been depicted in documentaries such as NOAH by Darren Aronofsky. Nephilim were said to have been destroyed in the Great Flood, but a race of giant people supposedly persisted on Earth into contemporary times. If this news comes as a surprise to you, there is one group to blame: the evil Smithsonian Institution, whose alleged purpose is to destroy the remains of giant skeletons so the lie of evolution can persist. Fortunately, some brave souls like the creator of A RACE OF GIANTS boldly proclaim this history and were able to sneak it past the censors. The documentary teaches us a few things: 1) that throughout North America, the bones of giant humans and even fossilized remains of their giant tools (pause) have been found and then lost through a series of unfortunate coincidences or outright archaeological malice; 2) that the legend of Big Guys has existed in many ancient cultures for a reason, because sometimes guys are really tall; and 3) that certain findings, such as the famous Guadalupe Woman skeleton embedded in rock formations inappropriate for the generally accepted carbon dating of Earth, supposedly go as far as to disprove the very concept of evolution. Without coming across as overtly Christian, A RACE OF GIANTS makes the case for the young earth creationism described by the Old Testament in a compelling, albeit confusing and roundabout way. View our full episode list and subscribe to any of our public feeds: http://boysbiblestudy.com Unlock 2+ bonus episodes per month: http://patreon.com/boysbiblestudy Subscribe to our Twitch for livestreams: http://twitch.tv/boysbiblestudy Follow us on Instagram: http://instagram.com/boysbiblestudy Follow us on Twitter: http://twitter.com/boysbiblestudy

Paranormal NL March 10th, 2026 Guest Bios: PNL (Paranormal NL) Podcast -S4/E10-UPRN Segment #70 “Shakespeare-Origins of the Pen Name. Beware of the Ides of March” Special -Pre-recorded event with a Live-Chat Watch-Party on UPRN. Host Jen Noseworthy from Newfoundland & Labrador (NL), Canada talks with PNL Podcast Alumni Network member and Co-Host Guest Mark R. Eddy (who was previously on PNL Podcast S3/E53 -UPRN Seg#60). Jen and Mark do some historical profiling with Guest Katherine Chiljan about her non-fiction research Shakespeare Suppressed. Mark R. Eddy is from the Ohio Valley, and attended the West Virgina University, USA. Mark is a passionate and professional author, researcher, a tireless podcast host, publicist. From Mothman to Shakespeare Mark's love of the Ohio Valley shines through in all of his work. Mark is part historian, amateur archaeologist, novice geologist, would-be anthropologist, adamant researcher, comedian, and a passionate writer. Nothing gets Mark down not even physical injuries. Some of his work includes items such as his book Lakes, Lizards, Linton and Leverett about ancient rivers, lakes, flora, fauna, geological features, prehistoric peoples such as the Archaic & Paleo-Indians. Marks' publisher is Ken Goudsward at Dimensionfold Publishing. Goudsward was on PNL S4/E2 (UPRN Seg#62) with Dr. Judd Burton from Burton Beyond & the IBA in Texas. Eddy says his persistence is a trait he learned from working with Dennis Stone (owner of America's Stonehenge). (Dennis was on PNL S4/E4-UPRN Seg#64). Mark R. Eddy was a high school English, and history teacher and published several articles in a history themed magazine. Eddy also wrote columnist pieces in his local Sunday paper and performs extensive research work in podcasting. Mark is proud of his collaborations with Barbara DeLong and her “Night-Light Network” Podcast). Barbara was on PNL S4/E3 (UPRN Seg#63). Mark is also co-host of the Third Eye Live Podcast with Sir Bryan Bowden - PNL Podcast alumni Network Guest who was on PNL in 2024: S2/E6, S2E63; and in 2025-S3/E4 (UPRN Seg#12) & co-hosted the 2025 PNL S3/E53 New Year's Eve Primer-Global Paranormal Party 2 hour special episode with Host Jen noseworthy and Co-Host Dayvid Salinas from DTRH-Down The Rabbit Hole & Dayvid Don't Know Podcast from Texas (on UPRN Seg#60). Check out all of their episodes on PNL Podcast and the IPA (International Paranormal Alliance) Linktree ⁠https://linktr.ee/paranormalnlpodcast⁠ Katherine Chiljan is from San Francisco, California, USA and authored the nonfiction book entitled Shakespeare Suppressed. KATHERINE CHILJAN is an independent scholar who has studied the Shakespeare authorship question for over 30 years. She has debated the topic with English professors at the Smithsonian Institution and at the Mechanics' Institute Library in San Francisco. Katherine has written several articles for Shakespeare-Oxford Newsletter, and served as its editor for two years. Chiljan is currently on the Research Grant committee for the Shakespeare-Oxford Fellowship, and is a board member of the Shakespeare Authorship Coalition. Katherine has given talks on the Shakespeare Authorship Question in numerous public libraries, clubs, universities, and bookstores throughout California. She is a frequent guest on radio shows and podcasts such as “Coast to Coast-AM”. Chiljan, a graduate of U.C.L.A. in history, became interested in the authorship question after watching a TV debate between Charlton Ogburn and a Shakespeare professor on “Firing Line”. Ogburn's case for the 17th Earl of Oxford as the real Shakespeare was overwhelming, and inspired Katherine to do her own research. Chiljan received an award for distinguished scholarship at Concordia University, Portland OR, for her Shakespeare PNL airs every Tue at 5pm EST on all digital platforms of UPRN (United Public Radio Network) 107.7 FM New Orleans & 105.3 Gulf Coast ⁠⁠https://www.uprntalkradio.com⁠⁠

Get to know Frida Kahlo with Beth Evans, Youth and Family Programs Coordinator for the National Portrait Gallery at Smithsonian Institution. Beth tells us what we can learn from Frida's example, and what makes her art and life so special. [This episode originally aired in the app in 2022.]

Leigh Ann Phillips is an award-winning singer songwriter and sound healing educator. She is on a mission to merge sound and music to assist people in leading more fulfilling lives in healthier bodies. Her work is taking her all over the world and back again. Leigh Ann has developed a method of brainwave entrainment through the use of her voice and the quartz crystal singing bowls. It is a form of sound healing based on research on the brain as well as the musical system called the Circle of Fifths. The purpose of the work is to help people release emotions from the body, as well as raise the level of health and well being physically, emotionally, mentally and spiritually. She has developed a method of shifting and slowing the brain states, allowing people to not just relax but release emotional blocks that are allowing dis-ease in the body. Her method incorporates the use of the quartz crystal singing bowls, Tibetan singing bowls, tingshaws, harp, piano, herbal medicine as well as her voice. Using mantras in languages such as Sanskrit, Enochian and Aramaic, Leigh Ann incorporates ancient mantras and prayers to enhance the power of the sound. This method actually places the bowls on the person, so the person is receiving not just music and sound, but also vibration. Her passion is to assist people in building an awareness of consciousness to the mind, body and spirit. Some people would call this allowing sound and music to be a bridge to the soul. Leigh Ann is now back in Crestone, Colorado! She has been bringing sound healing and the music of the quartz crystal singing bowls into the mainstream. She has given demonstrations and sound healing sessions most recently in Taiwan, the Hawaiian islands, at the Gem Exhibit at the Smithsonian Institution in Washington, D.C, as well as at a Playboy event in the Los Angeles area. She has also made television and radio appearances on various health, and lifestyle programs in Hawaii, New York, Massachusetts, Colorado, New Mexico, as well as the Orient. The sound and the music have merged, and Leigh Ann's passion for life has sounded into a path where music can bring not just beauty, but health, peace and the evolution of the soul. Leigh Ann's latest recorded album release, Mik'ael (2013), is a musical tapestry of mantras, sung in the Enochian language, accompanied by quartz crystal singing bowls and world instruments. Mik'ael is a musical collaboration with writer and producer, Thomas Barquee, recorded at Zenden Studios in California. Ideal for yoga and meditation, Mik'ael is a healing offering to the Archangel Michael, and all that is peaceful in nature and ourselves. Her next recording project will be spoken word, co-created again with Thomas Barquee. She is also the Executive Director of The Shimmering Sounds Foundation, a 501(c)3 non-profit organization dedicated to bringing sound healing as a complimentary therapy to the masses. The foundation has given hundreds of free sessions to people that could not normally afford holistic health sessions. The foundation incorporates the use of a crystal healing bed as well, a complementary treatment to the sound using color, vibration and light. Currently she has developed her own line of quartz crystal singing bowls, using unusual gemstones to infuse the bowls, as well as etching ancient mandalas that amplify the intention of this sacred art through the power of the sound. https://www.leighannphillips.com/ Call In and Chat with Deborah during Live Show: 833-220-1200 or 319-527-2638 Learn more about Deborah here:  www.lovebyintuition.com

In this episode of Revolutionary Women, I speak with Kyla Reynolds P'an, Head of Development for Pangea Trust, a UK–Portugal charity building Europe's first large-scale elephant sanctuary in Portugal's Alentejo region. Pangea Trust is creating a sanctuary for elephants currently living in captivity across Europe, offering a lifelong home designed for recovery, space, and social connection. We discuss what it takes to build an elephant sanctuary from the ground up, from fundraising and public awareness to infrastructure, international logistics, and preparing for the arrival of Kariba, the sanctuary's first elephant, expected in 2026. Beyond wildlife conservation, this conversation explores career evolution, living between cultures, and how seasons of work, including raising a family, shape the paths we take later. Kyla shares what it looks like to step into a new chapter with clarity and purpose. If you're interested in elephant conservation, nonprofit leadership, philanthropy in Europe, or stories of women creating change in their communities, this episode offers both depth and perspective. Kyla Reynolds P'an is Head of Development for Pangea Trust, a UK/Portugal based charity building Europe's largest and most comprehensive elephant sanctuary in the Alentejo region of Portugal. The sanctuary will serve as a compassionate solution for Europe's zoos and circuses seeking a life-long home for their elephants. Kyla holds a Master's in Journalism and is the mom of two teenagers. She has more than 20 years of front-line development experience under her belt, including the Smithsonian Institution, Boston University, Harvard Medical School and Mass Audubon. To Learn More about Kyla Reynolds P'an: LinkedIn: https://www.linkedin.com/in/kyla-p-an-59b1131/ To learn more about Pangea Trust: Home - Pangea Trust (2) Pangea Trust: Posts | LinkedIn (20+) Facebook (7) Instagram . . . . . Time to Shine by tubebackr & Popsicles https://soundcloud.com/tubebackr https://soundcloud.com/popsiclesmusic Creative Commons — Attribution-NoDerivs 3.0 Unported — CC BY-ND 3.0 Free Download / Stream: https://www.audiolibrary.com.co/tubebackr-and-popsicles/time-to-shine Music promoted by Audio Library https://youtu.be/Cvbjhx6X4ZY

Unfortunately, there are still more humans than dogs in the average airport terminal. Still, it's not uncommon to see dogs as you run to catch your flight. Some dogs, like humans, are just travelers passing through. But others, increasingly, are at the airport to take care of business. Today on AirSpace: it's Canine Career Day! We discuss the surprisingly wide variety of airport dog jobs, and hear from a few lucky humans about their unique coworkers. Matt and Emily learn about therapy dogs with trading cards; beagles and Labradors sniffing luggage for safety (and prohibited agricultural products); and even an elite doggie duo chasing wildlife off the runway.  Thanks to our guests in this episode: Pam Baird, Volunteer, CATS Program, Denver International Airport Chris Keyser, Wildlife Specialist, West Virginia International Yeager Airport Find the transcript for this episode and more information at s.si.edu/airspaces11e6.Subscribe to our monthly newsletter at s.si.edu/airspacenewsletter.AirSpace is made possible with the generous support of Lockheed Martin.AirSpace logo courtesy of the Smithsonian Institution. Episode photo courtesy of West Virginia International Yeager Airport (CRW).

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

ColorScapes, explores how seasonal color and light affect our emotions, learning, and overall well-being. From spring's hopeful pastels to winter's introspective tones, Lee offers an accessible, science-meets-art perspective on how color perception influences mood, focus, and creativity. It's a perfect conversation for audiences eager to understand the educational and emotional power of art in everyday life.With over four decades of experience connecting audiences to art and culture through her work at the Smithsonian Institution, Library of Congress, and collaborations with DreamWorks, Showtime, and Columbia Pictures, Lee now turns her talents to teaching through poetry. Her multi-cultural upbringing in France and India—coupled with her lifelong dedication to education and the arts—makes her an engaging voice for discussions about creative literacy, emotional intelligence, and cross-cultural learning.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

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

In this episode of Movie Nights with Matt, Matt Ehret hosts a solo screening and discussion of the documentary Like a Phoenix: The Death and Rebirth of America, written and narrated by Cynthia Chung. Matt introduces the film by explaining its relevance to current events in Latin America and U.S. foreign policy, particularly in light of recent developments involving Venezuela. The documentary traces the historical origins of Operation Phoenix during the Vietnam War and follows the evolution of counterinsurgency warfare, psychological operations, and social engineering through institutions such as the CIA, Tavistock Institute, and U.S. Special Forces. The film explores the symbolism of the phoenix, the concept of destruction as rebirth, and how these ideas have been applied through programs like Operation Condor, MKUltra, and modern migration policy. After the screening, Matt reflects on the themes presented, discusses the role of figures such as Brett and Eric Weinstein, the United Nations, and the Smithsonian Institution, and highlights Cynthia Chung's related research and book. The episode concludes with audience interaction and closing remarks.

On New Year's Eve, America250 Commission Chair Rosie Rios talks about the special celebrations tonight related to the U.S.'s 250th birthday in 2026, New York City & New Orleans are among the cities increasing their New Year's Eve security and world leaders issue New Year's messages; House Republicans schedule a hearing looking at Minnesota social welfare programs fraud, inviting both Republican state lawmakers and Gov. Tim Walz (D-MN) to testify; number of Jeffrey Epstein-related files the Justice Department is working through to release now reportedly tops 5 million; New York City mayor-elect Zohran Mamdani (D) names a new schools chancellor a day before he takes office; former Sen. Ben Nighthorse Campbell (D-CO) has died. We  hear his 2004 remarks at the dedication for the Smithsonian Institution's National Museum of the American Indian. Learn more about your ad choices. Visit megaphone.fm/adchoices

This special compilation brings together ten staff favorites that question everything we think we know about reality. From the dark corridors of DARPA where future technology is born to the frozen wastelands of Antarctica where Admiral Byrd allegedly encountered an advanced civilization, the official narrative often crumbles under scrutiny. We analyze the Pentagon's declassified plan to combat the undead and investigate whether John Wilkes Booth truly died in a Virginia barn. The Smithsonian Institution faces accusations of suppressing evidence regarding giant skeletons found across the United States. Even our existence might be an illusion, with glitches like the Mandela Effect suggesting we live in a simulation. Ancient structures like Gobekli Tepe may warn of a cyclical destruction that wiped out our ancestors. We look at the strange anomalies of the moon, the unsettling nature of liminal spaces, and the possibility that humanity was engineered by visitors from the stars. These stories suggest the line between conspiracy and fact is thinner than authorities admit. https://www.youtube.com/watch?v=ZfmJ_rLkKTI&t=287s

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

Episode No. 736 features artist Dyani White Hawk. The Walker Art Center in Minneapolis is presenting "Dyani White Hawk: Love Language," a 15-year survey of White Hawk's career. The exhibition spotlights how White Hawk (Sičáŋǧu Lakota) has foregrounded Lakota forms and motifs to challenge prevailing histories and practices around abstract art. The exhibition was curated by Siri Engberg and Tarah Hogue with Brandon Eng. The Walker has published an excellent catalogue; Amazon and Bookshop offer it for around $50. After closing at the Walker on February 15, "Love Language" will travel to the Remai Modern in Saskatoon, Saskatchewan. White Hawk's work is in the collection of institutions such as the Walker, the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington; the Museum of Modern Art, New York; and the Whitney Museum of American Art, New York. White Hawk was previously a guest on Episode No. 610 of The MAN Podcast. Instagram: Dyani White Hawk, Tyler Green. Air date: December 11, 2025.