Sidedoor

Betsy Ross sewed the first American flag. At least, that's what we were taught in school. But when historians go searching… there’s no proof to be found. In this episode of Sidedoor, we unravel this vexillological tale tall to find out how this myth got started, and who Betsy Ross really was.

Guests:

Jennifer Locke Jones, political and military history curator at the Smithsonian's National Museum of American History

Twitter: @jonesjl_si

Marc Leepson, journalist, historian and author of the book Flag: An American Biography

@MarcLeepson

https://www.marcleepson.com/

Book link: https://www.amazon.com/Flag-American-Biography-Marc-Leepson/dp/0312323093

Marla R. Miller, historian and author of Betsy Ross and the Making of America

Twitter: @MarlaAtLarge

Book link: https://www.amazon.com/Betsy-Making-America-Marla-Miller/dp/0805082972

Baseball fan or not, you know this song…or at least, you think you do. “Take Me Out to the Ball Game” is one of the top three most recognizable songs in the country, next to “The Star Spangled Banner” and “Happy Birthday.” But long-forgotten lyrics reveal a feminist message buried amid the peanuts and cracker jack.

Speakers:

• Dan Piazza, curator at the Smithsonian’s National Postal Museum 

• Andy Strasberg, co-author of “Take Me Out to the Ball Game: Baseball’s Greatest Hit” 

• George Boziwick, retired Chief of the Music Division of The New York Public Library for the Performing Arts, and co-founder of the Red Skies Music Ensemble

• Nancy Faust, retired organist for the Chicago White Sox

Before here was here Raven was a white bird, and the world was in darkness. So begins the story passed down among the Tlingit people of the Pacific Northwest since time immemorial. This origin story has survived by passing from the lips of one person to the ear of another – from generation to generation. In this episode of Sidedoor, Tlingit glass artist Preston Singletary shares it in a new way: leading us on a journey from darkness to light through dozens of luminous glass sculptures.

Speakers

Miranda Belarde-Lewis, independent curator and assistant professor of Information Science at the University of Washington

IG: miranda505

Preston Singletary, internationally acclaimed Tlingit glass artist

IG: @prestonsingletaryglass

YouTube Channel: https://www.youtube.com/c/PrestonSingletaryGlass

Emil Her Many Horses, curator at the Smithsonian’s National Museum of the American Indian

IG: @SmithsonianNMAI | Twitter: @SmithsonianNMAI

Dr. Martin Luther King Jr.'s I Have a Dream Speech is one of the most famous speeches in the world. But it almost didn’t happen. If you look at King's typed manuscript of his speech —which is currently on display at the Smithsonian National Museum of African American History and Culture— you won't find the phrase "I Have a Dream." But even though Dr. King's speech was improvised, that doesn't mean it wasn't years in the making. In this episode of Sidedoor, we trace the evolution of King's dream, from a secret friendship, to an experimental poem, to the speech we all know today.

Guests: 

Kevin Young, Director of Smithsonian's National Museum of African American History and Culture  

W. Jason Miller, Author of Origins of the Dream: Hughes's Poetry and King's Rhetoric

It’s easy to think artificial intelligence is objective. It doesn’t have emotions. It operates based on cold hard calculations. But artificial intelligence is built on human intelligence, and it may be carrying our old prejudices into the future with us. In this episode of Sidedoor, we step into the Smithsonian’s FUTURES exhibition to meet a very special robot who asks us to consider: whose image will be reflected in our AI future?

Speakers:

Stephanie Dinkins, transdisciplinary artist and professor at Stony Brook University

Twitter: @dinkinsstudio @stephdink

Instagram: Dinkins.studio, stephanie.dinkins

Email: [email protected]

Website: www.stephaniedinkins.com

Ashley Molese, a curator of the Smithsonian’s FUTURES exhibition

Social media: @smithsonianAIB, #TheFUTURES

A skill for brewing beer and $100 reward for her capture. Those were the clues in an old newspaper ad that got Smithsonian brewing historian Theresa McCulla hooked on the story of Patsy Young, an enslaved African American woman who fled to freedom in 1808 and made a life for herself brewing beer. In this episode of Sidedoor, we follow McCulla as she scours historical documents to retrace Young's life and find out who she was...and what happened after her escape.

Guests:

Theresa McCulla, Curator with the Smithsonian’s American Brewing History Initiative at the National Museum of American History

Mary Elliott, Curator of American Slavery at the Smithsonian National Museum of African American History and Culture

Frank Clark, Master of Historic Foodways at Colonial Williamsburg

In 1890, Americans were delighted when they heard the news that Thomas Edison was using his phonograph technology to give voice to porcelain dolls. But their delight soon turned to horror. In this episode of Sidedoor, we’ll hear a short story that imagines what happens when two little girls receive one of Edison’s talking dolls as a holiday gift. And we’ll speak with an expert from the National Museum of American history to learn what went wrong with Edison’s invention.

When Chiura Obata painted “Moonlight Over Topaz, Utah,” he was a prisoner at the camp: one of 120,000 Japanese Americans to be incarcerated during World War II. The painting shows a dreamy moonlit desert, with just a few dark lines to hint at the barbed wire fences and guard towers that held him and his family captive. As a painter, Obata turned again and again to nature as his greatest teacher, and his greatest subject. Today, his work can be found in art collections and museums around the world, including the Smithsonian's American Art Museum. This time on Sidedoor, we learn from Chiura Obata about the power of art in tumultuous times.

Speakers:

Rihoko Ueno: Processing archivist at the Smithsonian’s Archives of American Art

Noriko Sanefuji: Museum specialist in the Division of Cultural and Community Life at the Smithsonian’s National Museum of American History @apacurator @amhistorymuseum

ShiPu Wang: Coats Endowed Chair in the Arts and Professor of Art History at The University of California Merced. Curator of the traveling exhibition, “Chiura Obata: An American Modern.” @curatingobata

Kimi Hill: Chiura Obata’s granddaughter and author of the book, “Topaz Moon.”

When LOL just isn't enough to respond to a friend's killer joke, emoji are there for you. But for many people, there isn't an emoji to represent them or the things they want to say. This has pushed activists, designers, and straight up regular folks to create their own emoji. It's not as easy an undertaking as you might think, but every now and then one of these new emoji is so innovative it breaks the digital mold and finds itself in the Cooper Hewitt, Smithsonian Design Museum. In this episode of Sidedoor, we explore how one groundbreaking emoji is changing digital representation and the future of museum collections. 

There’s a new sculpture at the Smithsonian’s Hirshhorn Museum and Sculpture Garden: a giant torch that’s strikingly familiar – and entirely unique. Artist Abigail DeVille has reimagined the Statue of Liberty’s torch to shine a light on historical contradictions of American freedom. Through her work, DeVille asks us to re-examine the stories we’ve inherited as a nation, including the story of Lady Liberty herself. As it turns out, the statue holding her torch alight in New York Harbor today has come to stand for something very different from its original intention. Born out of the Black Lives Matter protests of 2020, Light of Freedom reflects the historical origins of the Statue of Liberty and challenges us to confront the idea that liberty itself is a work in progress.