Sojourner Truth was a women's rights advocate known best for her famous speech "Ain't I a Woman." But Truth never actually said these words. In fact, much of the Truth we know… is fiction. Depictions from different artists and journalists have tweaked Truth's legacy to fit their messages, giving her a “kaleidoscopic reputation,” according to Nell Irvin Painter, author of Sojourner Truth: A Life, A Symbol.  So how did a speech she never gave make Sojourner Truth one of the most famous women’s suffragists of the 19th century? And what did Truth actually say? Turns out, the whole Truth is even better than fiction.  Guests: Nell Irvin Painter, author of Sojourner Truth: a Life, a Symbol; Edwards Professor of American History Emerita at Princeton University Ashleigh Coren, former content strategist for the Smithsonian's Our Shared Future: Reckoning with Our Racial Past initiative Kim Sajet, director of the Smithsonian’s National Portrait Gallery and host of the Smithsonian's Portraits podcast

<description>
 &lt;p&gt;Sojourner Truth was a women's rights advocate known best for her famous speech "Ain't I a Woman." But Truth never actually said these words. In fact, much of the Truth we know… is fiction. Depictions from different artists and journalists have tweaked Truth's legacy to fit their messages, giving her a “kaleidoscopic reputation,” according to Nell Irvin Painter, author of Sojourner Truth: A Life, A Symbol.  &lt;/p&gt;&lt;p&gt;So how did a speech she never gave make Sojourner Truth one of the most famous women’s suffragists of the 19th century? And what did Truth actually say? Turns out, the whole Truth is even better than fiction.  &lt;/p&gt;&lt;p&gt;&lt;strong&gt;Guests: &lt;/strong&gt;&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Nell Irvin Painter,&lt;/strong&gt; author of Sojourner Truth: a Life, a Symbol; Edwards Professor of American History Emerita at Princeton University &lt;/p&gt;&lt;p&gt;&lt;strong&gt;Ashleigh Coren&lt;/strong&gt;, former content strategist for the Smithsonian's Our Shared Future: Reckoning with Our Racial Past initiative &lt;/p&gt;&lt;p&gt;&lt;strong&gt;Kim Sajet&lt;/strong&gt;, director of the Smithsonian’s National Portrait Gallery and host of the Smithsonian's Portraits podcast&lt;/p&gt;
 </description>

Sojourner Truth was a women's rights advocate known best for her famous speech "Ain't I a Woman." But Truth never actually said these words.


        Sojourner Truth was a women's rights advocate known best for her famous speech "Ain't I a Woman." But Truth never actually said these words. In fact, much of the Truth we know… is fiction. Depictions from different artists and journalists have tweaked Truth's legacy to fit their messages, giving her a “kaleidoscopic reputation,” according to Nell Irvin Painter, author of Sojourner Truth: A Life, A Symbol.  

So how did a speech she never gave make Sojourner Truth one of the most famous women’s suffragists of the 19th century? And what did Truth actually say? Turns out, the whole Truth is even better than fiction.  

Guests: 

Nell Irvin Painter, author of Sojourner Truth: a Life, a Symbol; Edwards Professor of American History Emerita at Princeton University 

Ashleigh Coren, former content strategist for the Smithsonian's Our Shared Future: Reckoning with Our Racial Past initiative 

Kim Sajet, director of the Smithsonian’s National Portrait Gallery and host of the Smithsonian's Portraits podcast
      

The Whole Truth

Edmonia Lewis was the first sculptor of African American and Native American (Mississauga) descent to achieve international fame. Her 3,000-pound masterwork, “The Death of Cleopatra,” commemorated another powerful woman who broke with convention… and then the sculpture disappeared. On this return episode of Sidedoor, we find them both. You can see "The Death of Cleopatra" at the Smithsonian American Art Museum. The new exhibition, The Shape of Power: Stories of Race and American Sculpture features 82 artworks created between 1792 and 2023, including two by Edmonia Lewis. Guests: Marilyn Richardson, art historian and independent curator   Kirsten Pai Buick, professor of art historian at the University of New Mexico and author of Child of the Fire: Mary Edmonia Lewis and the Problem of Art History's Black and Indian Subject Karen Lemmey, the Lucy S. Reign Curator of Sculpture at the Smithsonian American Art Museum

<description>
 &lt;p&gt;Edmonia Lewis was the first sculptor of African American and Native American (Mississauga) descent to achieve international fame. Her 3,000-pound masterwork, “The Death of Cleopatra,” commemorated another powerful woman who broke with convention… and then the sculpture disappeared. On this return episode of Sidedoor, we find them both. &lt;/p&gt;&lt;p&gt;&lt;em&gt;You can see "The Death of Cleopatra" at the Smithsonian American Art Museum. The new exhibition, The Shape of Power: Stories of Race and American Sculpture features 82 artworks created between 1792 and 2023, including two by Edmonia Lewis. &lt;/em&gt;&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Guests:&lt;br&gt;Marilyn Richardson&lt;/strong&gt;, art historian and independent curator&lt;br&gt;&lt;strong&gt; &lt;br&gt;Kirsten Pai Buick&lt;/strong&gt;, professor of art historian at the University of New Mexico and author of &lt;em&gt;Child of the Fire: Mary Edmonia Lewis and the Problem of Art History's Black and Indian Subject&lt;br&gt;&lt;/em&gt;&lt;br&gt;&lt;strong&gt;Karen Lemmey,&lt;/strong&gt; the Lucy S. Reign Curator of Sculpture at the Smithsonian American Art Museum &lt;/p&gt;
 </description>

Edmonia Lewis was the first American woman of color to achieve international fame as a sculptor.


        Edmonia Lewis was the first sculptor of African American and Native American (Mississauga) descent to achieve international fame. Her 3,000-pound masterwork, “The Death of Cleopatra,” commemorated another powerful woman who broke with convention… and then the sculpture disappeared. On this return episode of Sidedoor, we find them both. 

You can see "The Death of Cleopatra" at the Smithsonian American Art Museum. The new exhibition, The Shape of Power: Stories of Race and American Sculpture features 82 artworks created between 1792 and 2023, including two by Edmonia Lewis. 

Guests:
Marilyn Richardson, art historian and independent curator
 
Kirsten Pai Buick, professor of art historian at the University of New Mexico and author of Child of the Fire: Mary Edmonia Lewis and the Problem of Art History's Black and Indian Subject

Karen Lemmey, the Lucy S. Reign Curator of Sculpture at the Smithsonian American Art Museum 
      

Finding Cleopatra

Imagine this: invisible robbers break into a bank and steal massive sacks of cash, but instead of running away with it they set their haul on the front stoop of the bank in a glass case. Everyone can see the money, but only the robbers can get to it. That’s how IRS Special Agent Chris Janczewski describes the 2016 Bitfinex heist – when mystery hackers made out with over $70 million in Bitcoin. By 2020, their loot had ballooned to over $4 billion. With only digital footprints to follow, federal agents tracked the criminals through the blockchain, across the dark web, and up the service elevator of a posh Manhattan apartment building in a sleuthing story that ends at the Smithsonian. The renovated The Value of Money exhibition will be opening at the National Museum of American History in November 2024. Check it out in person or online!Guests:Ellen Feingold, curator of the <a href="https://americanhistory.si.edu/about/departments/work-and-industry/national-numismatic-collection">National Numismatic Collection </a>at the Smithsonian’s National Museum of American HistoryZia Faruqui, United States Magistrate Judge at the District Court for the District of Columbia Ari Redbord, Ari Redbord is the Global Head of Policy at TRM LabsChris Janczewski, Head of Global Investigations at TRM Labs, previously a special agent with IRS-CI Cyber Crimes Unit

<description>
 &lt;p&gt;Imagine this: invisible robbers break into a bank and steal massive sacks of cash, but instead of running away with it they set their haul on the front stoop of the bank in a glass case. Everyone can see the money, but only the robbers can get to it. That’s how IRS Special Agent Chris Janczewski describes the 2016 Bitfinex heist – when mystery hackers made out with over $70 million in Bitcoin. By 2020, their loot had ballooned to over $4 billion. With only digital footprints to follow, federal agents tracked the criminals through the blockchain, across the dark web, and up the service elevator of a posh Manhattan apartment building in a sleuthing story that ends at the Smithsonian. &lt;/p&gt;&lt;p&gt;The renovated The Value of Money exhibition will be opening at the National Museum of American History in November 2024. Check it out in person or online!&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Guests:&lt;/strong&gt;&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Ellen Feingold&lt;/strong&gt;, curator of the &lt;a href="https://americanhistory.si.edu/about/departments/work-and-industry/national-numismatic-collection"&gt;&lt;strong&gt;National Numismatic Collection &lt;/strong&gt;&lt;/a&gt;at the Smithsonian’s National Museum of American History&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Zia Faruqui&lt;/strong&gt;, United States Magistrate Judge at the District Court for the District of Columbia &lt;/p&gt;&lt;p&gt;&lt;strong&gt;Ari Redbord&lt;/strong&gt;, Ari Redbord is the Global Head of Policy at TRM Labs&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Chris Janczewski&lt;/strong&gt;, Head of Global Investigations at TRM Labs, previously a special agent with IRS-CI Cyber Crimes Unit&lt;/p&gt;
 </description>

With only digital footprints to follow, federal agents tracked the criminals through the blockchain, across the dark web, and up the service elevator of a posh Manhattan apartment building in a sleuthing story that ends at the Smithsonian.

Imagine this: invisible robbers break into a bank and steal massive sacks of cash, but instead of running away with it they set their haul on the front stoop of the bank in a glass case. Everyone can see the money, but only the robbers can get to it. That’s how IRS Special Agent Chris Janczewski describes the 2016 Bitfinex heist – when mystery hackers made out with over $70 million in Bitcoin. By 2020, their loot had ballooned to over $4 billion. With only digital footprints to follow, federal agents tracked the criminals through the blockchain, across the dark web, and up the service elevator of a posh Manhattan apartment building in a sleuthing story that ends at the Smithsonian. 

The renovated The Value of Money exhibition will be opening at the National Museum of American History in November 2024. Check it out in person or online!

Guests:

Ellen Feingold, curator of the <a href="https://americanhistory.si.edu/about/departments/work-and-industry/national-numismatic-collection">National Numismatic Collection </a>at the Smithsonian’s National Museum of American History

Zia Faruqui, United States Magistrate Judge at the District Court for the District of Columbia 

Ari Redbord, Ari Redbord is the Global Head of Policy at TRM Labs

Chris Janczewski, Head of Global Investigations at TRM Labs, previously a special agent with IRS-CI Cyber Crimes Unit

Bitcoin Bank Heist

They carried torches and marched at night. Their goal: defend free speech in America. What started as a small group of young men demonstrating during the 1860 election, snowballed into a mass movement of working-class Americans marching to end slavery. They called themselves the Wide Awakes. And they’re widely seen as the political force that helped elect Abraham Lincoln and spur the Civil War. So why has their story gone untold? And why is now the time to tell it?  Guests: Jon Grinspan, Curator of Political History at the Smithsonian's National Museum of American History. Author of Wide Awake: The Forgotten Force that Elected Lincoln and Spurred the Civil WarKevin Waite, Associate Professor of History at Durham University. Author of West of Slavery: The Southern Dream of a Transcontinental Empire

<description>
 &lt;p&gt;They carried torches and marched at night. Their goal: defend free speech in America. What started as a small group of young men demonstrating during the 1860 election, snowballed into a mass movement of working-class Americans marching to end slavery. They called themselves the Wide Awakes. And they’re widely seen as the political force that helped elect Abraham Lincoln and spur the Civil War. So why has their story gone untold? And why is now the time to tell it?  &lt;/p&gt;&lt;p&gt;&lt;strong&gt;Guests: &lt;/strong&gt;&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Jon Grinspan, &lt;/strong&gt;Curator of Political History at the Smithsonian's National Museum of American History. Author of &lt;em&gt;Wide Awake: The Forgotten Force that Elected Lincoln and Spurred the Civil War&lt;/em&gt;&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Kevin Waite,&lt;/strong&gt; Associate Professor of History at Durham University. Author of &lt;em&gt;West of Slavery: The Southern Dream of a Transcontinental Empire&lt;/em&gt;&lt;/p&gt;
 </description>

They called themselves the Wide Awakes. And they’re widely seen as the political force that helped elect Abraham Lincoln and spur the Civil War.


        They carried torches and marched at night. Their goal: defend free speech in America. What started as a small group of young men demonstrating during the 1860 election, snowballed into a mass movement of working-class Americans marching to end slavery. They called themselves the Wide Awakes. And they’re widely seen as the political force that helped elect Abraham Lincoln and spur the Civil War. So why has their story gone untold? And why is now the time to tell it?  

Guests: 

Jon Grinspan, Curator of Political History at the Smithsonian's National Museum of American History. Author of Wide Awake: The Forgotten Force that Elected Lincoln and Spurred the Civil War

Kevin Waite, Associate Professor of History at Durham University. Author of West of Slavery: The Southern Dream of a Transcontinental Empire
      

The Wide Awakes

Imagine Jaws without the sneaking tuba. Or Psycho without the shrieking violins. Music can help a horror film strike fear in the heart of theatergoers. And you can trace some of these musical scare tactics back to the era of SILENT films — when organists made up film scores on-the-spot. To celebrate the spooky season this year, we're slashing apart a 1917 silent horror film with composer Andrew Earle Simpson to find out how music can be the beating heart of suspense. Grab your popcorn and get snuggly under the blanket. But be sure to check the closet for a pianist before turning out the lights. Want to see this movie for yourself? Don’t miss our live screening of The Devil’s Assistant at the National Museum of American History! Join Lizzie, Andrew, and Ryan on Wednesday, October 30th at 7:30pm to see this movie the way it was made to be watched – with live musical accompaniment. We’ll have objects from the Smithsonian collections and audience Q&amp;A.  <a href="http://s.si.edu/spookyfilms">Reserve your FREE tickets here</a>.Guests: <a href="https://andrewesimpson.com/">Andrew Earle Simpson</a>, composer and professor of music at the Benjamin T. Rome School of Music, Drama, and Art at The Catholic University of America in Washington, DC. <a href="https://americanhistory.si.edu/profile/1176">Ryan Lintelman</a>, curator of entertainment at the Smithsonian's <a href="https://americanhistory.si.edu/">National Museum of American History</a>

<description>
 &lt;p&gt;Imagine Jaws without the sneaking tuba. Or Psycho without the shrieking violins. Music can help a horror film strike fear in the heart of theatergoers. And you can trace some of these musical scare tactics back to the era of SILENT films — when organists made up film scores on-the-spot. &lt;/p&gt;&lt;p&gt;To celebrate the spooky season this year, we're slashing apart a 1917 silent horror film with composer Andrew Earle Simpson to find out how music can be the beating heart of suspense. Grab your popcorn and get snuggly under the blanket. But be sure to check the closet for a pianist before turning out the lights. &lt;/p&gt;&lt;p&gt;&lt;em&gt;Want to see this movie for yourself? Don’t miss our live screening of The Devil’s Assistant at the National Museum of American History! Join Lizzie, Andrew, and Ryan on Wednesday, October 30th at 7:30pm to see this movie the way it was made to be watched – with live musical accompaniment. We’ll have objects from the Smithsonian collections and audience Q&amp;amp;A.  &lt;/em&gt;&lt;a href="http://s.si.edu/spookyfilms"&gt;&lt;strong&gt;&lt;em&gt;Reserve your FREE tickets here&lt;/em&gt;&lt;/strong&gt;&lt;/a&gt;&lt;em&gt;.&lt;/em&gt;&lt;/p&gt;&lt;p&gt;Guests:&lt;br&gt;&lt;a href="https://andrewesimpson.com/"&gt;&lt;strong&gt;Andrew Earle Simpson&lt;/strong&gt;&lt;/a&gt;&lt;strong&gt;, &lt;/strong&gt;composer and professor of music at the Benjamin T. Rome School of Music, Drama, and Art at The Catholic University of America in Washington, DC. &lt;/p&gt;&lt;p&gt;&lt;a href="https://americanhistory.si.edu/profile/1176"&gt;&lt;strong&gt;Ryan Lintelman&lt;/strong&gt;&lt;/a&gt;&lt;strong&gt;, &lt;/strong&gt;curator of entertainment at the Smithsonian's &lt;a href="https://americanhistory.si.edu/"&gt;&lt;strong&gt;National Museum of American History&lt;/strong&gt;&lt;/a&gt;&lt;strong&gt; &lt;/strong&gt;&lt;/p&gt;
 </description>

To celebrate the spooky season this year, we're slashing apart a 1917 silent horror film with composer Andrew Earle Simpson to find out how music can be the beating heart of suspense.

Imagine Jaws without the sneaking tuba. Or Psycho without the shrieking violins. Music can help a horror film strike fear in the heart of theatergoers. And you can trace some of these musical scare tactics back to the era of SILENT films — when organists made up film scores on-the-spot. 

To celebrate the spooky season this year, we're slashing apart a 1917 silent horror film with composer Andrew Earle Simpson to find out how music can be the beating heart of suspense. Grab your popcorn and get snuggly under the blanket. But be sure to check the closet for a pianist before turning out the lights. 

Want to see this movie for yourself? Don’t miss our live screening of The Devil’s Assistant at the National Museum of American History! Join Lizzie, Andrew, and Ryan on Wednesday, October 30th at 7:30pm to see this movie the way it was made to be watched – with live musical accompaniment. We’ll have objects from the Smithsonian collections and audience Q&amp;A.  <a href="http://s.si.edu/spookyfilms">Reserve your FREE tickets here</a>.

Guests:
<a href="https://andrewesimpson.com/">Andrew Earle Simpson</a>, composer and professor of music at the Benjamin T. Rome School of Music, Drama, and Art at The Catholic University of America in Washington, DC. 

<a href="https://americanhistory.si.edu/profile/1176">Ryan Lintelman</a>, curator of entertainment at the Smithsonian's <a href="https://americanhistory.si.edu/">National Museum of American History</a>

The Devil’s Composer

More than 154 million treasures fill the Smithsonian’s vaults. But where the public’s view ends, Sidedoor begins. With the help of biologists, artists, historians, archaeologists, zookeepers and astrophysicists, host Lizzie Peabody sneaks listeners through the Smithsonian’s side door, telling stories that can’t be heard anywhere else. Check out <a href="https://www.si.edu/sidedoor">si.edu/sidedoor </a>and follow @SidedoorPod for more info.

Sidedoor

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