Only one place possesses the brawn, brains and brass to transform naval warfare with such a creation – the Newport News Shipbuilding yard in Virginia and its 30,000 employees and shipyard workers. Weighing 100,000 tons, Kennedy features the most futuristic technology ever put to sea, making it the most dangerous aircraft carrier in the world. Tip the Empire State Building onto its side and you’ll have a sense of the length of the United States Navy’s newest aircraft carrier, the most powerful in the world: the USS John F. Redman argues that cultural institutions can-and should-use their history to prepare for challenges and solidify their identity going forward. By diving deeper into the changes that emerged from these key challenges, Samuel J. We explore World War I and the 1918 influenza pandemic, the Great Depression, World War II, the 1970 Art Strike in New York City, and recent controversies in American museums from the COVID-19 pandemic to race and gender issues, this timely book takes a novel approach to understanding museum history, present challenges, and the future. He’s the author of The Museum: A Short History of Crisis and Resilience. To talk with us today about museums is today’s guest, historian and professor Samuel J. But museums ask questions about power and who gets to determine what stories are told or foregrounded, who gets to determine how those things are exhibited, framed, and talked about. Beset by challenges ranging from pandemic and war to fire and economic uncertainty, museums have sought ways to emerge from crisis periods stronger than before, occasionally carving important new paths forward in the process. The flames at the Smithsonian were not the first -and certainly would not be the last-disaster to upend a museum in the United States. Rare objects and valuable paintings were destroyed. The New York Times wrote that “the destruction of so many of its fine collections will be viewed as a national calamity.” Dazed soldiers and worried citizens could only watch as the flames engulfed the museum’s castle. On an afternoon in January 1865, a roaring fire swept through the Smithsonian Institution. In today’s episode, we explore the life and death of Mata Hari, a woman who was an excellent performer, perhaps a poor spy, but above all else, never, ever uninteresting. The only recent the French military charged her with espionage was to distract the nation from France’s poor showing in the war. But more recently, historians argued that she was merely a gossip who tried to steal state secrets but never discovered anything that couldn’t be found in the newspapers. Immediately after her death, biographies ran with the juicier narrative and turned her into the femme fatale archetype, who lured high-ranking officers into her boudoir and steal their documents while they were asleep. At her trial, prosecutors claimed that the world-famous exotic dancer had seduced countless men from both sides of the war (definitely true) and leaked intelligence that caused the deaths of 50,000 French soldiers (almost certainly false). Even before Mata Hari (née Margaretha Zelle) was executed by a French firing squad in 1917 for spying on behalf of the Germans, her life had already become legend.
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