Leeches don’t get a lot of love. They’re slimy, wriggly, and, well, they suck—blood that is. But there’s a lot to learn about the lowly leech. Led by a troupe of Smithsonian experts, we’ll discover how these toothy hangers-on wormed their way into medical practices, performance art, and EVERY human cavity. Yes, even that one. It's a journey of discovery from the swamp to the stage and deep into the vaults of the Smithsonian. And it just may leave you with a little more appreciation (dare we say, love?) for the bloodsuckers.Guests: Anna J. Phillips, research zoologist and curator of Clitellata and parasitic worms at the Smithsonian’s National Museum of Natural HistoryRachel Anderson, project specialist at the Smithsonian’s National Museum of American HistoryJosh T. Franco, national collector at the Smithsonian Archives of American Art, former Smithsonian Artist Research Fellowship selection committee memberRoberto Sifuentes, performance artist and arts instructor at the School of the Art Institute of Chicago, former fellow with the Smithsonian Artist Research FellowshipAram Han Sifuentes, leech wrangler, social practice fiber artist, writer, curator, and adjunct professor at the School of the Art Institute of Chicago
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The Giving Game
The Gilded Age was a time of unparalleled wealth and prosperity in America — but it was also a time of staggering inequality, corruption, and unchecked power. Among its richest figures was Andrew Carnegie, the steel magnate who built his fortune on the backs of low-paid workers, only to give it away — earning him the nickname the Godfather of American Philanthropy. He didn’t just fund libraries and universities — he championed a philosophy: that it was the duty of the ultra-wealthy to serve the public good.But, as it turns out, even philanthropy is a form of power. So, what exactly have wealthy philanthropists done with their power? We explore that question at the Cooper Hewitt, Smithsonian Design Museum, inside Carnegie’s former mansion. There, a board game called Philanthropy invites players to reimagine the connection between money and power — not by amassing wealth, but by giving it away.Guests: Christina de León, Associate Curator of Latino Design at the Cooper Hewitt, Smithsonian Design Museum Tommy Mishima, artist and co-creator (with Liam Lee) of the installation “Game Room” in Cooper Hewitt's triennial Making Home David Nasaw, author of the biography Andrew Carnegie
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Space Jams
If you were curating a mixtape that might be heard by aliens billions of years from now - but definitely would be seen by your fellow Earthlings - what would you put on it? In 1977, two Voyager spacecraft launched from Cape Canaveral on a journey that would take them beyond our solar system. Affixed to the side of these two planetary explorers was the Voyager Golden Record — the ultimate mixtape of humanity — containing 27 pieces of music as well as pictures and sounds of Earth. But how did these selections get made? Nearly 50 years later, we're teaming up with our friends at the Smithsonian National Air and Space Museum’s podcast, AirSpace, to explore what's on the record, how it got made, and its legacy.Learn more about AirSpace! Airspace Hosts: Matthew Shindell, curator of space history at the Smithsonian’s National Air and Space MuseumEmily Martin, planetary geologist at the Smithsonian’s National Air and Space MuseumGuests:Ann Druyan, Voyager Golden Record Creative DirectorLawrence Azerrad, Co-founder of Macroscopic
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Zoo's Clues
The Curious Case of the Dizzy Kudu. Rhinos with an unexplained skin disease. A lion that could barely chew. Who do you call when there's a mystery at the zoo? The Smithsonian National Zoo and Conservation Biology Institute's anatomical pathologists. These highly-skilled vets search for clues to investigate animal disease and death — sometimes encountering bizarre phenomena. So, grab your microscope and get ready to head through a very special side door of the National Zoo — the necropsy lab. And you're in luck, because pathologist Kali Holder is our guide! Guests:Kali Holder, anatomic pathologist at the Smithsonian's National Zoo and Conservation Biology Institute
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Writing on the Wall
From the time we’re old enough to hold a crayon, it feels instinctive to draw on the wall. But for MISS CHELOVE – also known as Cita Sadeli – this instinct became a calling. Through bold color and layered symbolism, she transforms everyday public spaces into deeply personal statements, inspiring some passers-by to wonder: what is the role of the public artist? And how can public art both reflect and shape a community's identity?Guests:MISS CHELOVE (also known as Cita Sadeli), independent Washington D.C. - based art director, muralist, designer, and illustrator Sojin Kim, curator for the Smithsonian Asian Pacific American Center’s exhibition: Sightlines, Chinatown and Beyond
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 si.edu/sidedoor and follow @SidedoorPod for more info.
USA