« Stuff You Missed in History Class

Smithsonian American Art Museum: An Interview With Stephanie Stebich

2019-04-24 | 🔗

Holly had the privilege of sitting down with Stephanie Stebich, director of the Smithsonian American Art Museum, for a chat in the museum. The discussion covers the building's history, one of the new exhibits there, and one of Stephanie's favorite items in the Smithsonian's collection.  

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This is an unofficial transcript meant for reference. Accuracy is not guaranteed.
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You missed in history class of production of I hurried use. How stuff works, allow unwelcome upon canst, I'm hungry fry and I've Tracy be well, then I'm super duper excited because I was recently fortunate enough to visit this an american ART Museum and sit down with the director Stephanie stability for a chance, and this interview It focused on any one specific thing: we talk about Stephanie Work and some of the museums exhibit, but also just museums, offer the world and how they fit into history. Stephanie have a passion for her work and for sharing art with a public. It's completely infectious and what she really cares about is how people engage with the museum. So when she first sat down with highly for the interview she hath colleague, question right out of the gate, find out what Holly thought of time at the museum this morning yet a little embarrassing. I cried in front a smart report. Gonna pick up this interview with my answer and then we'll start off me.
In our view is Stephanie, which quickly opens up into the history of the building that houses, the Smithsonian American ART Museum. so it's been amazing, I mentioned to you before we can that I had my little tearful moment with the money. A Louis sculpture- because I am a great admirer of her in her life story- is very inspiring, so that in and of itself was my great thing and because we're here before it opens until they have private time with a piece of art like that, is Beyond special to me, when I went to hear about from you, though, is there are some? things that you showed me that we walked around together doing and some Instead, I walked around on my own, experiencing which I'll ask you about a bit, but before we get to any of that, I want to ask you how you landed here, like how does one become the leader of a place like this, where I would holly I have the greatest job possible,
a job where, every day I am working with really talented creative people and are not just talking about my phenomenal staff but artists who come here, people who have a passion and collect people who I write about. but we present art critics and thinkers and also of people who have now, I ve been here before, as well as people who love this place, is deeply and and have their five. A favorite objects favorite faces in the museum. So how do you grew up and become a museum director? Well, I will tell you this
Cloning is in many ways the Harvard of of art museums, because we are this big family of museums where the largest research and museum complex in the world. We are these of official national museums of different subject matters. So my cases american art has wells. I run the Renwick Gallery, which is the National Museum of Craft, and then you go through the National Museum of African ART, the Cooper Hewett and on and on all these specialities. I grew up in museums. I I felt at home in museums, I studied our history and their different pathways. I could have Todd, I could worked at an auction house or a gallery could have written, but when you work in a museum you get a touch that many more lives you get to constantly learn its graduate seminar with every.
special exhibition? We do when we make really tough decisions about which works of art we're going to accept or with limited dollars purchase. We are making an important statement about time in place and I like to say in museums, wherein the forever business- that's beautiful, there's there's a sacred duty, and I will tell you I and tell my staff that museums, our team sport. Yes, I have the good luck of being the director, but it's really a t. Nobody can do this work lies just is just too many facets to have any single person, even even our curators, who, who think up these wonderful projects. It depends on so many arms and legs to get something done here. It I mean it it just in our short time, working around with some of your staff that abundantly
clear that just everyone here, one is incredibly smart. Incredibly engage like I tell to even like just the people that are working through doing maintenance duff. Nobody is like just Clark in doing their gently. They all seem to really how museums are generally happy play. The righteous grable come with some leisure time. They come with their friends. They come with their family. They come on special occasions. They come to share. Things are deeply, meaningful to them. They come for fun. They come for surprise, Hopefully they leave remembering something that they saw, that that the that I like to think that the gift, Give us when we encounter their work and really spent time with work. Is that artists changed the way we see the world one one object, one work at a time, so the Billy wherein as well, you gave me a quick version,
earlier. You took us into the secret room, which is off of what appears to initially be a very standard sort of coat room. Then there's a secret room which has some really cool insights into the buildings history. Will you talk about this buildings, history and how it how its all over the years to where it is now sure it's a spectacular building. It spans Tuesday city blocks. A seventh tonight street and is boundary by effigy streets, and so we have entrances on both sides and that secret room you'll find on the F street entrance. As you perhaps hang up your code, leave your bag. You'll see there's a little chamber in the back where we have left uncovered the the structure of the building, because this was built ass. The patent office for the United States, the third federal building built after the White House and the capital, and you have to make
This must be a very important building its where american entrepreneurship and creativity is at home, and it's a pretty good choice to locate the National Museum of American ART so the building originally housed shelves rose in rows of shells of patent models. Present Andrew Jackson Sign legislation, in about around patent law, which mandated that an inventor you had to bring forward a model of your of your invention, plus drawings, and explain how this was made and that sure inventors could come and look and say. Oh actually, what I have is an improvement is a variation on an existing patent. Again, you have to be. Your patent has to be reviewed even today I'm really I heard Holly might find fascinating the ten millionth. U S. Patent was issued recently, ten million is astonished
to think about all of the ingenuity that the preceding numbers all contained in many cases. Yes thing it s, just as a great deal about the never ending quest to make new things and fill gaps. though we need in certain beautiful, indeed an end. This historic building also went through some transformations. It was built to be fireproof, so that meant original enough to stay away from wooden beams and work with iron dresses and such and built in the greek revival style. It does the civil war how's the hospital Walt Whitman would come here. And read too injured, soldiers and in it incarnation as the patent office
the very important Clara Barton worked here. We would know her for two important reasons. Of course she was the founder of the American Red Cross and in today's important conversation about gender equality, she was the first government employee who was given equal pay. equal work. Clare Barton here at the old patent office, and it also housed earlier innovations and collections of this Miss Sony in and then thankfully, in nineteen, sixty eight after a significant restoration was the official home for this was only an american ART Museum and our sister Museum, the national Portrait Gower, and it's so beautiful walking around. I spied something very cool which has been retained, despite updates and things being renovated. There is a tiny piece of graffiti the guy's captain. Now it's almost it's all models
working exhibit we talk about that little bit. Yes, I I think museums have wonderful objects that we care taken. Hopefully we displayed in freeing and beautiful ways provocative way, sometimes, and yet, let's not forget the, how in which we set at whether it's a a contemporary building in their wonderful star, architects. Rebuilding great museums these days, but many museums are located historic buildings in our reports. and so if we can bring a little bit of the magic out. If we can remind people that that these great facility he's had important role, not only we were a civil war hospital, but where the home for a Abraham, Lincoln's second inaugural ball, because it was one of the largest spaces and washing DC for such an event. yeah I'll. Do we have any insight into the mystery, see HF that I owe their initial. I wish I could tell you I wish I could tell you that it was Walt Whitman himself. No, not the case.
However, Walt Whitman, their echoes of war, Whitman around the city, so I invite you to go to the Dupont. Circle, train a metro exit and etched in the entry and exit tunnel is the Walt Whitman poem about his days. Reading to I'm civil war, you know injured yeah. They love it so far, listeners, it's a tiny little piece of like a window frame. Yes, it is, has the initial see HF carved in it and then is dated August? Eighth, eighteen, sixty four and you guys have put this beautiful, just a little glass over it and it it is a sort of funny, because when you look at it straight on it, almost six, like you just mounted a picture on the wall. But then, when you see it from the side, you realize it's just protecting something. That's part of this buildings, history I'm so glad you found the Holly we We want people to look closely at works of art and then also
or a little bit of the building. So when you're in the Great hall, which was where Lincoln's integration was, and if you look at the floor, it feels different than in the rest, the building and not on marble floors. United, Kenwood Gallery floors, you're on beautiful tiled floors and because that is a completely different style. There's a fire on one thousand, eight hundred and seventy seven in this building, and so a new architectural style was added to our greek revival. Building something called, and so a very different grandeur was Added to the building give a bit of an update. I hope everyone who visits the Smithsonian American ART Museum seeks out that little bit of preserved graffiti, that we talked about it just feels so unique and special, and at tethers the building to its past coming up. Stephanie will share to stories about places in the building. She thinks are extra special and visitors should makes her to visit
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Right now and there are a couple of mezzanine levels of shells and open storage as we like to call it. A three thousand works of art on view across all media and then tucked in another corner that you and I spied on, walked over a little bit is the lender conservation center. The first visible conservation center in in a museum So the pat models we thought would be important to still show and we have an understanding with the patent office that a couple of delightful, I would say both failed models and things we still enjoy today, like a butter turn, or I think you spider sewing machine. So these wonderful models are tagged with a wonderful serve calligraphy index their number a little bit of their history. We have reproductions of some of the drawings that talk about process in use
We also have a timeline of one of them of the usage of the of the museum, Sir. It, sir in Bay, twenty one when you're up on threat, mezzanine level of the loose some. Yeah it's. There are so many wonderful little nooks and crannies all over this building, but so I'm glad that you directed people were to go if they want to see that, because I finally tricky to find it. If you don't know the billing terribly well One of I really wanted to talk to you about isn't exhibit that you guys just opened, which is called artists, responded, american ART in the Vietnam WAR. One that's really impact full exhibit to walk through. It is not an easy exhibit walk through a lot of those pieces are not what we would call like pretty art moving and visceral and very frightening in some ways and arresting. Will you talk about just that exhibit why it is in
why you wanted to have it here at the Smithsonian and also just you know your thoughts on it and how the whole thing came together. Thank you hi. I'm so glad you have me to spend a moment on this exhibition, so this is a project has been five years in the making really take that long to identify works too when you're you're theories in your messages to write, catalogue and treason, essays and a ship everything he. Brenda and also raise the funds to to make it all happened. This is an exhibition. That is a window into a moment, of the american experience no more by any definition. was one of the most contested moments. American life. It touched our political life, our military experience, our social understanding and are
were among those who were grappling with this war that, for Many people arrived in your living room service, firsts televised war, and so you would be sitting down to dinner with your family and there would be the on your screen, the notices of how many people were killed or injured, and that is reflected in a fabulous peace by Edward Keen holds that we have on display. This exhibition looks at a unique time period. Nineteen sixty five to seventy five key moments, the escalation of the war as well, and it is fundamentally and anti war exhibition, and thank God it is. It is not designed to be Anti american, and I don't see the artists making that statement. They may question the american government, they may I share the ideals that are not being upheld in this moment.
There is a moment where this conflict would forever change. American are why? Because if you're, making pop art or abstract expressionist art in the preceding decades, that's not the language where you can talk about loss that you can talk about the body that you can talk about ideals or american identity or a try these or places far in a far far away. It's really interesting because I feel egg one up in a military family, where my dad was in the Vietnam WAR and never wanted to talk about it. really enlightening again. I was tiny at that point, so it wasn't as though I have my own memories of it, but it is enlightening even for me who I feel like me, you know I study history and I read up on these things and have personal connection, but even so It really captures well going on socially, in a way that I think we don't often see
it's an education in and of itself about what what it felt like to be american during the late sixties and early seventies. That, I think, is incredibly import. I wonder what the reception has been in the short time. It's been open, ITALY been open like a week and Africa. Yes, yes, I think people of understood that this is an important topic. It's really the first and third largest in the most comprehensive view of this moment in time. It is both feels very contemporary and the artist were making work in response. To that moment, and again, the exhibition has works only from that decade. Much is, of course, we we offer some interpretation spaces and, and talk about? You know that my Lin's Vietnam WAR Memorial, because we are of course here emotionally scene- is something
in many ways brought the country back together again in after the shattering experience of the war. The exhibition also feel very historic in terms of the moment, set speak to the democratic convention. Also a tough moment in Chicago: it's an exhibition. that in rights a lot more voices into the story than we were used to both at the time, and even sometimes, today, how many more works by women artist by people of color included. I think people will be surprised, is how many works by veterans are in the exhibition and they to grapple with their dual identity, as an artist and as a veteran, it's also show that confronted with different media so they'll be an environment, there'll, be graphic posters, they'll, be some photojournalist images, they'll be big, bold paintings, there are photographs of performance,
is included, and I will tell you how do these artists weren't necessarily Making the art for the art world they weren't, necessarily expecting the works to be displayed, and a lot of dealers really didn't want to show this, work and it was work that in many ways was not always fully formed, was still in processing you'll find people. You know like Judy Chicago and Chris Burton and you'll find people made. No. Ass, like just intervene, our common and Kim Jones, both that's all de as impact full as Rupert Garcia, so incredible MAX, yet the the breadth of our work in that exhibit as I was walking through, I kept my way is more down here, linked its huge. It is a big show and believe it or not? We had we. We, we did have a pretty good job of editing that not everything
on a borrow is available, and yet people also very generous in their loans, and you have to have track down who own something because it may change hands during that time. I would also say that our critics have picked up that this is an exhibition that is worth about and hopefully encouraging, people to visit, so we had early previews in the Washington Post in the Wall Street Journal and a compliment three review in the washing post, calling it a must see, exhibition, and I hope it is an exhibition you see with other people and that you can both respond to the works of art and also to your memories or your understanding of that of that moment again conveyed through art. This I have to keep reminding people. Holly's phenomena
we at our expression, much as we are pausing in trying to remember what exactly happened in that beer of nineteen sixty nine and what changed again in nineteen seventy one, and we will we offer timelines and and other moments of context for visitors, but it's really the art that way: you too, I encounter hearing, you guys have a unique little set up where people can kind of process where there at in terms of like what they ve experienced and how their thinking about it. We talk a little bit about that because its fascinating yes, I more and more. We ask ourselves: how do our visitors get ready to see an exhibition, and how do we give them a space for four paws Oh, I have asked the curators to plan for each vision, do have a video a brief went where you can stand on us to just we're, not making Black box basis, but some kind
moment where we can talk about the artist or at the time period or what was going on historically just preparing visitors, every visitor come in short of ETA and, at the same seem level of information that that were offering and then in you go through the exhibition and and the rooms are thematic Lee laid out other numbered. So we do think that there is a story to be told us as you move from room one two to five or so and then at the end, comfortable, seeding, a pencil. Catalogues, books, a timeline images visiting the art works in a chronological sense, instead of in a thematic sense, updating the store a little bit reminding you what has happened since and then asking you which works of art spoke to you, which works of art. Will you not forget?
which works were familiar to. You are artists that you, you know in what context, but did not ever think that they would be making art that would speak to the Vietnam WAR experience yeah. It's an amazing thing. I kind of wish every museum exhibit habit More and more. I think we are We want to know more about how our visitors come into he's in what is their frame of reference. What is their frame of knowledge, and how do we give them quiet space for for interpretation, for for sorting through before you again jump into another gallery a different time moment: different material. We want people to to rest their eyes to hear I want to shift gears little bit because I you mentioned earlier to me before we started your favorite peace here and I would love for you too. About that. A little bit I'll holly. I have a favorite piece of the day at
at the museum. Here we have forty four thousand works of art and I am instantly learning something new. I have the pleasure of meeting artists and then seeing the work, maybe through their eyes or when we purchase something that becomes a new favor, So remind me, what did I tell you? Was my favorite hunting that Helen Keller own ah, but is not my object? I'm me to tell you about our work in the Smithsonian's collection. Gotcha again. As I mentioned, the American ART Museum. We hold forty four thousand works of art. Trust, bittorrent areas? So lovely India, when Miss out this masonic institution, which is supported by your tax dollars as well as private contributions, holds a hundred and fifty five million objects. Should that now that's, let's imagine that most of those or maybe bugs natural History Museum, but among others, incredible objects. It
less about ourselves, our time about about what we're, thinking and and feeling is an object that I am very interested in which is Helena Kellers Watch guy, so pause for second, and imagine what you would think it would look like it's not a watch, wristwatch tobacco. Much ok was it made for her. No, actually, a gift who would have a watch that would be What Alan Keller, if I told you it was a diplomat, if I told you it was a pocket watch If I told you it was a watch that you could feel the time on, so that the an internal mechanism that were time would be represented on the outside, so that a diplomat would be diplomatic. ending a meeting or being on time someplace- and this was a gift to Helen Keller- that she treasured-
it makes us think differently about keeping and how somebody overcame so much. We find use in something that other people would could also on and would have routinely. I love that it's just such a fascinating, but all I don't know, is it a piece of shit, here too, in other it's wonderful limit. Can I tell you I'm interested in is not incur, though I were another hat or two or three at the Smithsonian aside from running the american museum and the Renwick Gallery. There are pan institutional or Smithsonian wide initiatives and one of them is the american women's history initiative. I am the co chair of this and we are spending the next five years to pull the threads together of all the stories of american women through science through history through natural history through art through politics, every
which way that remarkable women and also everyday women have contributed to the american experience to Americans. So there are two cornerstone anchoring exhibitions. One opens, coincidentally, on March twenty eight here in the old patent office building my sister museum, the national Portrait Gallery is doing a votes for women exhibition, obviously geared towards the anniversary suffrage, which did not give all women the right to vote. You have to remember in the south, during the Jim Crow Period Black, when we're not enfranchise They would also, at the book and to that opening exhibition in the coming years is an exhibition called girlhood. It's complicated, which talks about growing into your own identity. As a woman said that phases of myth
King unreality of american girlhood, and so the Helen Keller story is, is part of that exhibition which will travel nationally glow? That's wonderful, maybe half a dozen museums, that'll be fantastic coming up. Stephanie is going to talk a little bit about how even the frames that art is displayed in are an important part of an object story, but first we're going to pause and have a word from one of the sponsors that keeps this show going. This episode is brought to you by Mazda and the Mazda CX. Thirty, a truly remarkable suv. The Cx30 is size to be agile in the city while still having the interior space and utility to go anywhere
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for more information on Mazda than the first ever see Ex Thirty go to Mars, USA dot com, slash, Iheart or better, yet to see the entire as the vehicle lineup visit your local area, Mazda dealer today, I know that you are obviously keenly interested in history. There was also an little bit of trivia that you told me his fear, walking around telling about conservation picture frames, talk about that. Little bit sure one of the special places here at them. The aim is the lender conservation centre that I may have mentioned earlier and when you are up in that space whiten you encounter are floor to ceiling windowpanes. It is basically a glass box and we have five conservation labs that are visible
who to anyone who comes up their ashore. Conservatives are working diligently away in a framing studio in an objects laboratory in the time based media space in the painting. I'm a lab, and we try to reveal a little bit about the magic of of of how we present works of art, how artist create things and so in the framing studio. You'll, see different styles of frames. Explain have their crafted close to the window. You'll see a little sampler of papers, so there's a gold leaf, their silver leave. There's copper if things like that, dumb more and more, we want to try to encourage our visitors to understand that there is something very special to historic frame that perhaps the artist was very in mention all about the frame that they wanted. Maybe they ve created the frame,
or maybe it was important for a collector- to have frames that really showcased men and hundred year. Someone will have that hang on and they'll be like. Oh, it will add weight in depth to their understanding. Of of that piece of artists are taking it in so yes, an framing Ali is ever evolving. Museums will take frames off and say you know what that frame is speaks more to the collector and their desire to have one type of frame verses. What was really more typical for the stop a conversation made. Did you see that regional Vrain yeah yeah? I mean, I think about their arrival pieces, I have bought fairly region. DE in New Orleans, where the frames were made out of refugees from the hurricane and to me like that, Exactly kind of the same thing is just historically oriented a hundred years, someone will have that hang on and they'll be like. Oh, it will add weight in depth to their understanding of of that piece of art is they're, taking it in,
yes, and an framing Ali is ever evolving. Museums will take frames off and say you know what that frame is speaks more to the collector and their desire to have one type of frame verses. Was really more typical for this kind of of an object he seems go to great lengths to restore, in some cases, recreate frames to again honour on the work of our love. It you obviously, because of your position, I don't I don't want two Hetty or make you feel weird. But obviously you are the steward of a place that is maintaining- and we know- string history and how its toll, So I wonder, is it too weird for you to think about in a hundred years, when someone looks back on your directorship? What would you them to remember
Well, I appreciate that you understand that these jobs are temporary, that we're all stewards of that it's I'm I'm doing my very best to make sure that I advocate for visitors that that what we have to share. Is meaningful to the people who come through our doors and I'm happy what that museum visitation is at an all time. High last year we welcome some tea million visitors and this past year, three million visitors as a huge uptake. Of course, it's a special exhibition, its things, a capture people's imagine, nation that they want to see and were delighted when, when that happens, and of course we keep ask ourselves who are we not speaking to her, who needs different works of art to feel welcome at the museum and be represented here, and I think-
mostly my impact will be not which works of art, I had the good luck of bringing into the collection and encouraging are correct. To be bold, inviting people to be generous to help us purchase things hopefully my legacy will be. Some special exhibitions at will be groundbreaking, like our artist respond, economically Vietnam war. Nineteen, sixty five nineteen, seventy five checked or a burning man exhibition at the Renwick Gallery, ensure the exhibitions are bigger and bolder I want to make sure that I'm educating the next generation of vast scholars and in our and our fellowship programme, which can be fifty years old next year, oldest largest and premier programme in American Arden and visual culture, that we'd care take these objects in the lender conservation Centre and that mostly Holly people feel at home. This is there a museum that the Smithsonian American
museum is deeply meaningful for people throughout their lives. I feel like you're legacy is gonna, be that you opened the doors wider. Well, that's all de my charge, because we are free and is an amazing thing to offer all of this for free we're open every single day of the year. Up to Christmas dinner, and so in this building all patent office. have later hours were open to seven o clock at night, the only Smithsonian with such late hours, and it gives us a different vibe in a different energy. And I am happy to report. We are also among the favourite of this Macedonia museums in the sense that after the nationals do we have the highest repeat visitation. Fifty three percent are visit. is come again and we're not on the national, so you were a destination. I love it made. It speaks to the
Is it worth that you ve been doing? I cannot thank you enough for having us today late. This has been dreamy Well Holly. I I tell you this is a place for the people of curious mines. This is a place for fun as well. We weren't you get dark at your hands dirty as well to when we ve got great family day programmes. Let me talk about one of my favorite programmes. If you too, if you don't mind, We do something that I've never seen it any other museum because believe it or not. We collect video games, we see video aims as art in terms of the composition in terms of the narrative in terms of the of the elements that they go into it and their often have a story component. to them so every year. For some ten years or so now we ve been doing something called SAM Arcade. You know what our Cato area, the museum, the Fabulous Coca Courtyard and others.
cases in the museum are filled with all kinds of games and video games. They are free. We invite people to be polite and only use them for some fifteen minutes or so, and people are very good about that, and let me tell you There are motorcycles parked outside the museum. There are vans parked outside of the museum, their people pouring out of the metro station, young and old English as their first language as theirs can or third language. We feature new kinds of games, games that use historic elements and have a sense of chance that relate to two biblical stories a piece about Walden Pond where you travel. through the house and look at historic objects. Are you go into the woods and after chopped down a tree to make the log urban amazing kind of fantasy games that you you play by yourself or with others.
and best he wandered through the rest of the museum has Azure going on it's a two day. Events we have over ten thousand people come and it invites us to think about doing the next hour to video games exhibition both at the museum and and centre on the country. I will be here for that again. The American Express You'll get tired of seeing me an american pressure. I love it again. Thank you so much what a delight for me my pleasure come back. I feel so spoiled I like to say tell everyone, and I mean that not in the telegram to combat, tell everyone that you want to come with them here again back to the social experience in museums. I feel like it is kind of empty the ball to not want to run to this facility in American ART Museum after hearing Stephanie Stephen talk about it, if you like run to the museum, and you want to check out the exhibit that we mention in the show artists respond, american ART and the Vietnam WAR. Nineteen sixty five to nineteen, seventy five that
Cuba is open now and it will run until August eighteenth. We are also to be sure to include a link to their website with information about that exhibit in our show notes. Super big thanks once again to Stephanie for being on the show. I have a quick little bit of list real if you'd, like cool I'm on a role where I really am enjoying our mails from from educators. So this is from our listener Jessica, who writes I wholly in Tracy. I am a full time, special Ed teacher and a part time history buff. I started listening to your pond cast a few months ago and I am constantly amazed by the amount of content stuff in history classes covered my goals to be able to give you guys an idea for a show some day, but every time I come up with one, I find it
covered it already. So then I quickly find it and archives and listen. Voraciously. Recently I was reading the book brave Harriet by Marisa Matias with my students, this introduce them to Harriet Queen Bee, who was the first woman to fly across the english channel, not surprisingly, after a quick search of the archives, I found that Harriet was mentioned in a previous pon cast back and twenty twelve, so I quickly downloaded the show and shared it with my students, and they were so excited to learn more about this american aviator. Thank you. So much for all that you do to keep stories like these relevant and interests. Younger generations of history levers. Thank you so much Jessica again, I have to say thank you for being an educator, because we need those and it is a noble endeavour. I certainly feel if you like to write to us, you can do so in history. Tat has to have two works, dot com or you can come and visit us anywhere and social media
where we are missed in history, were also it missed in history, dot com as our website and all of this shows that have ever existed can be found right there. You would like to subscribe to the show you can do that on the I hurt radio, app apple pie, gas or wherever you listen to Prague, Castle stuffy, missed in history, glasses of production, I might radios, Housetop works, for my part, have I read your visit thy heart, radio, Appleton guests or wherever you listen to your favorite shells, everybody. So this episode of sifted blow your mind is sponsored by the all New Mazda, see Ex thirty, which I actually just got to test, DR recently in the beautiful mountains of southern California,
and I will say, as some of you, we ve told you on the show before we're not really car guys. We don't know a lot about cars, I'm sort of a automobile philistine, but from this auto Philistines hard, I will say this was a really wonderful card to drive. I truly enjoyed cruising around the mountains thing. He was very smooth. It was very stylish. It sung to my non car heart in a way that cars- usually don't so what's actually in this thing details why so it has class leading standard horse power, and I active all we'll drive with G vector in control plus for ultimate control, and I will say there is a very special thing about this car. I am I'm driven another car like this, where you, when you go around a corner in it something about it, feels almost like predictive like it. You know you don't need to do like Jerkin around trying to correct your turn like it. Everything in it is extremely
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