Unsung History

George Washington privately condemned slavery while actively holding hundreds of people in enslavement. He championed gradual emancipation plans while scheming to keep the people he enslaved from accessing them. He ruthlessly pursued a woman who escaped his enslavement and then emancipated the slaves he owned outright in his will. Washington’s complicated and contradictory legacy around slavery has been debated by Americans since his death. Joining us to discuss is Dr. John Garrison Marks, the Vice President of Research and Engagement at the American Association for State and Local History and author of Thy Will Be Done: George Washington's Legacy of Slavery and the Fight for American Memory.Our theme song is “Frogs Legs Rag,” composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The episode music is “I think we’ve got another Washington,” composed by George Fairman and performed by the Peerless Quartet on October 32, 2015, in New York City; the recording is in the public domain and is available via the Library of Congress National Jukebox.The episode image is “Washington at Mount Vernon plantation, 1797,” lithographed and published by Nathaniel Currier in 1852; the image is in the public domain and is available via Wikimedia Commons.Additional Sources:Never Caught: The Washingtons' Relentless Pursuit of Their Runaway Slave, Ona Judge, by Erica Armstrong Dunbar, 37 Ink, 2015.“The Enslaved Household of President George Washington,” by Lindsay M. Chervinsky, White House Historical Association, September 6, 2019.“George Washington on the abolition of slavery, 1786,A Spotlight on a Primary Source by George Washington,”Gilder Lehrman Institute.“George Washington’s Last Will and Testament, 9 July 1799,” Founders Online, National Archives. “Forgotten No Longer: Archaeology of the Slave Memorial & African American Burial Ground at George Washington's Mount Vernon,” by Joe A. Downer, Archaeological Field Research Manager, George Washington's Mount Vernon.“People Enslaved at Monticello Who Gained Their Freedom,“ Thomas Jefferson’s Monticello.“Trump administration ordered to restore George Washington slavery exhibit it removed in Philadelphia,” by Hannah Schoenbaum, AP News, February 16, 2026.Advertising Inquiries: https://redcircle.com/brands

One hundred years ago, Dr. Carter G. Woodson created and launched the inaugural Negro History Week after his professors told him that Black people didn’t have a history worth studying. Negro History Week built on the success of Douglass Day and quickly spread through Black communities in the United States. Fifty years later, at the urging of the Association for the Study of Afro-American Life and History, President Gerald Ford called for Americans to celebrate Black History Month, which was finally ordered by Presidential Proclamation in 1986. Joining me in this episode is Dr. Jarvis Givens, Professor of Education and African and African American Studies at Harvard University and author of I'll Make Me a World: The 100-Year Journey of Black History Month.Our theme song is “Frogs Legs Rag,” composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode audio is “Lift Every Voice and Sing,” with lyrics by James Weldon Johnson and music by Jon Rosamond Johnson; this public domain performance is by the United States Army Field Band and the 82nd Airborne Chorus and features Staff Sgt. Kyra Dorn. The episode image is a portrait of Carter G. Woodson taken on 19 December 1915 by Addison Norton Scurlock; the image is in the public domain and is available via Wikimedia Commons.Additional Sources:“The Origins of Douglass Day,” by Jennifer Morris, Smithsonian Digital Volunteers, February 14, 2023.“The story behind the Frederick Douglass birthday celebration,” by Scott Bomboy, National Constitution Center, February 14, 2024.“Black History Month: A Commemorative Observances Legal Research Guide,” Library of Congress.“The Origins of Black History Month,” by Daryl Michael Scott, The Association for the Study of African American Life and History. “Here's the story behind Black History Month — and why it's celebrated in February,” by Jonathan Franklin, NPR, February 2, 2022.“W. E. B. Du Bois and Black History Month,” by Phillip Luke Sinitiere, Black Perspectives, February 18, 2016.“Message on the Observance of Black History Month, February 1976,” by Gerald Ford, February 10, 1976.“Proclamation 5443—National Black (Afro-American) History Month, 1986,” by Ronald Reagan, February 24, 1986.“Proclamation: National Black History Month, 2026,” by Donald Trump, February 3, 2026.Advertising Inquiries: https://redcircle.com/brands

Reed Peggram, born in Boston in 1914, a gay Black man in a world that put up barriers to his success, excelled at Harvard before heading to a Europe on the brink of war. In Europe he fell in love with a Danist artist, and despite pleas from everyone in his life and from the US government to leave the war-torn continent, Reed refused to depart without Arne, leading to his imprisonment in an Italian concentration camp. Even then, Reed overcame the barriers in his way, escaping with Arne and surviving until they were rescued by the US Army. Joining me in this episode is Dr. Ethelene Whitmire, Professor of African American Studies at the University of Wisconsin–Madison, and author of The Remarkable Life of Reed Peggram: The Man Who Stared Down World War II in the Name of Love.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode audio is “Do it Again!” composed by George Gershwin and performed by the Paul Whiteman Orchestra; the piece, which is in the public domain, was recorded on March 28, 1922 in New York, and is available via the Library of Congress National Jukebox. The episode image is a 1935 photograph of Reed Peggram retrieved from Reed Peggram's Harvard student records in the Harvard University archives; it is in the public domain and available via Wikimedia Commons.Additional source:“Unpacking Reed Peggram’s Library,” by Ethelene Whitmire, Journal of Cultural Analytics, vol. 9, no. 2, May 2024.Advertising Inquiries: https://redcircle.com/brands

Charles C. Diggs, Jr., founder of the Congressional Black Caucus, spent 25 years in Congress, pushing for change, on issues from segregation in commercial aviation to home-rule for the residents of Washington, DC, to the anti-apartheid movement. His legislative accomplishments were overshadowed by his downfall, and today his story doesn’t receive the attention of other Civil Rights heroes. Joining me in this episode is Dr. Marion Orr, Frederick Lippitt Professor of Public Policy and Professor of Political Science at Brown University and author of House of Diggs: The Rise and Fall of America's Most Consequential Black Congressman, Charles C. Diggs Jr.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-audio is “Bad Luck Blues,” performed by Gertrude “Ma” Rainey in 1923; the performance is in the public domain. The episode image is an official Congressional photo of Charles Diggs, Jr., in the public domain and available via Wikimedia Commons.Additional sources:“DIGGS, Charles Coles, Jr.,” Office of the Historian, United States House of Representatives.“Charles Diggs, 75, Congressman Censured Over Kickbacks,” by Irvin Molotsky, The New York Times, August 26, 1998.“Eyes on the Prize; Interview with Charles Coles Diggs Jr., 1985-11-06 [video],” Film and Media Archive, Washington University in St. Louis, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC.“Regional Council of Negro Leadership,” by Ten Ownby, Mississippi Encyclopedia.“Mound Bayou (1887- ),” by Herbert G. Ruffin II, BlackPast, January 18, 2007.“Emmett Till's Death Inspired a Movement,” Smithsonian’s National Museum of African American History & Culture.“About the CBC,” Congressional Black Caucus.“D.C. Home Rule,” Council of the District of Columbia.Advertising Inquiries: https://redcircle.com/brands

When All in the Family premiered in January 1971, CBS was nervous enough about the content that they added an advisory message at the beginning. Despite their fears, the show was a success, quickly garnering both awards and top Nielsen ratings. All in the Family not only changed television in the United States but also the practice of politics. Joining me in this episode is Dr. Oscar Winberg, Postdoctoral Fellow at the Turku Institute for Advanced Studies and the John Morton Center for North American Studies at the University of Turku, and author of Archie Bunker for President: How One Television Show Remade American Politics.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “I Don’t Like Your Family,” composed by Joseph E. Howard, with lyrics by Will M. Hough and Frank R. Adams; this recording, from October 4, 1906, is in the public domain and is available via the Library of Congress National Jukebox. The episode image is a photo of the Cast of the television program All in the Family from a press release dated March 12, 1976; the photo is in the public domain and is available via Wikimedia Commons.All in the Family streaming:Meet the Bunkers (Season 1, Episode 1) on YouTubeSeasons 2 and 3 on Pluto TVSeasons 7 and 8 on TubiAdditional Sources:“Till Death Us Do Part, 6 June 1966,” History of the BBC. “Norman Lear, Whose Comedies Changed the Face of TV, Is Dead at 101,” by By Richard Severo and Peter Keepnews, The New York Times, December 6, 2023.“For Good or Bad, Norman Lear Helped Erase Rural America from TV,” by Jeffrey H. Bloodworth, The Daily Yonder, February 22, 2024.“How Archie Bunker Forever Changed in the American Sitcom,” by Sascha Cohen, Smithsonian Magazine, March 21, 2018.“Looking Back on the Legacy of ‘All in the Family’ 50 Years Later,” by Tim Gray, Variety, January 12, 2021.“Looking Back on “All in the Family,” the Sitcom That Reshaped America,” by Tim Brinkhof, The Progressive Magazine, May 30, 2024.“Rob Reiner was more than a Hollywood liberal. He was a sophisticated political operator,” by Melanie Mason, Politico, December 15, 2025.Advertising Inquiries: https://redcircle.com/brands

When It’s a Wonderful Life was first released, it wasn’t a box office hit, but it did draw the attention of the FBI and its investigation into the Communist Infiltration of the Motion Picture Industry (COMPIC). The House Un-American Activities Committee (HUAC) didn’t end up doing anything with the FBI’s allegations of subversion in the film, but the pressure of investigations like this led to a shift in Christmas films over the next 15 years away from stories of social problems to more lighthearted romances and musicals. Joining me in this episode is Dr. Vaughn Joy, author of Selling Out Santa: Hollywood Christmas Films in the Age of McCarthy. Dr. Joy’s public scholarship website with her husband, Dr. Ben Railton, is Black and White and Read All Over.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is "Carol of the Bells," composed by Mykola Leontovych and performed by the Concert Band of the United States Air Force Band of the Rockies; the performance is in the public domain and available via Wikimedia Commons. The episode image is a still from It’s a Wonderful Life, which is in the public domain.Films Discussed:It’s a Wonderful Life (1946)Susan Slept Here (1954)Babes in Toyland (1961)Additional Sources:“Breaking Hollywood's 'Pattern of Sameness'; That is the task the independent producers have set themselves, says Frank Capra, who is one of them.” by Frank Capra, The New York Times, May 5, 1946.“The Truman Doctrine, 1947,” U.S. Department of State Office of the Historian.“House Un-American Activities Committee,” Harry S. Truman Library & Museum.“Screen Guide for Americans,” by Ayn Rand, the Motion Picture Alliance for the Preservation of American Ideals, 1947.“FBI File on Communist Infiltration- Motion Picture Industry (COMPIC),” via archive.org.“When 'It's a Wonderful Life' Came Under FBI Scrutiny,” by Christopher Klein, History.com, December 11, 2025.“How ‘It’s a Wonderful Life’ Went From Box Office Dud to Accidental Christmas Tradition,” by Jay Serafino, Mental Floss, December 6, 2024.Advertising Inquiries: https://redcircle.com/brands

Americans love their coffee; according to the Fall 2025 National Coffee Data Trends Report, 66% of adult Americans drink coffee every day, averaging three cups per day. This devotion to the caffeinated beverage is nothing new. Even before Bostonians dumped over 90,000 pounds of tea in the harbor, Americans were sipping cups of joe. George and Martha Washington served tea at the President’s House in New York, and after he stepped down as president, George Washington even tried growing coffee trees at Mount Vernon. Joining me in this episode is Dr. Michelle Craig McDonald, Director of the Library & Museum at the American Philosophical Society, and author of Coffee Nation: How One Commodity Transformed the Early United States.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “Coffee in the Morning and Kisses in the Night,” by Gus Arnheim, 1934, Public domain, via Wikimedia CommonsThe episode image is of a coffee pot, made by Robert and William Peaston and accompanying sugar bowl, creampot, and tongs, made by Myer Myers; the items were owned by Dorothy Remsen, who married Abraham Brinckerhoff of New York in 1772. The coffee set is on view at The Met Fifth Avenue in Gallery 704; and the image is available as part of the Met's Open Access policy.Additional Sources:“Coffee’s Creation Myth: How Coffee Conquered the World,” by Blake Stilwell, Coffee or Die Magazine, April 16, 2022.“The Boston Tea Party at 250: History steeped in myth,” by Gabrielle Emanuel, WBUR, December 14, 2024. “Coffee and the White House,” by Tianna Mobley, The White House Historical Association, May 2, 2022.“Coffee,” George Washington’s Mount Vernon.“Coffee: World Markets and Trade,” by United States Department of Agriculture Foreign Agricultural Service, December 2024. “Poll reveals America’s coffee consumption habits,” by Georgia Smith, Global Coffee Report, September 11, 2025.Advertising Inquiries: https://redcircle.com/brands

Global rum sales are expected to reach nearly $28 billion USD by the year 2033, making it one of the ten most popular alcoholic beverages in the world. In this episode we look at the early history of rum, how its invention and production were intertwined with the transatlantic slave trade, and how abolitionists tried to find free-labor sources of the popular liquor. Joining me in this episode is Dr. Jordan B. Smith, Associate Professor of History at Widener University, and author of The Invention of Rum: Creating the Quintessential Atlantic Commodity (use code PENN-JSMITH30 at Penn Press for 30% off).Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “Fun Island,” by Geoff Harvey - Pixabay; used under the Pixabay Content License. The episode image is “Barrels of Rum,” by MAClarke21, CC BY 2.0, via Wikimedia Commons.Additional Sources:“How Authentic Caribbean Rum Is Made [video],” West Indies Rum and Spirits Producers' Association (WIRSPA), YouTube, May 16, 2014.“About Barbados: History Of Barbados,” Barbados, org.“The History of Jamaica,” Jamaica Information Service.“Historical Context: Facts about the Slave Trade and Slavery,” by Steven Mintz, The Gilder Lehrman Institute of American History.“Top 10 best-selling rum Brand Champions 2025,” by Lauren Bowes, The Spirits Business, July 1, 2025.“Global Rum Market Size, Share, Growth, and Regional Forecast, 2025 – 2032,” Persistence Market Research, June 20, 2025.“20 Countries that Export the Most Rum in the World,” by Sultan Khalid, Insider Monkey via Yahoo Finance, March 18, 2024.Donate to Recovery Efforts in Jamaica:Jamaican Office of Disaster Preparedness and Emergency Management (ODPEM)World Central KitchenProject HopeOne Love BrigadeAdvertising Inquiries: https://redcircle.com/brands

New Orleans is known for its unique cuisine that blends and highlights the many cultural roots of the city and its residents. The history of food distribution in New Orleans is just as unique within the American landscape, relying heavily on public food systems, both street vendors and municipally-run public markets. Joining me in this episode is Dr. Ashley Rose Young, a curator and public historian who serves as the American History Curator in the Rare Book and Special Collections Division at the Library of Congress and is a Smithsonian Research Associate. Her book, Nourishing Networks: The Public Culture of Food in New Orleans has just been published.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “On my way to New Orleans,” composed by Albert Von Tilzer with lyrics by Ballard MacDonald; this performance was sung by George O’Connor on February 10, 1915, in New York, and is in the public domain and available via the Library of Congress National Jukebox. The episode image is: “French Market, New Orleans, La.,” Detroit Publishing Company, 1910; there are no known restrictions on publication, and the image is accessible via the Library of Congress.Additional sources:“New Orleans History 101: A beginner’s guide to understanding the Crescent City,” by Historic New Orleans Collection Visitor Services Staff, January 21, 2022.“Timeline: New Orleans,” PBS American Experience.“New Orleans Then and Now: The French Market,” by Ellen Terrell, Library of Congress Blog, July 12, 2018.“The Native Roots of the French Market,”by Kalie Rhodes, New Orleans Historical: A project by The Midlo Center for New Orleans Studies at the University of New Orleans, February 11, 2021. “200 Years of Commerce, Community & Culture,” French Market District. “New Orleans Street Vendors: A long history of African American entrepreneurship,” by Zella Palmer, 64 Parishes, December 1, 2019.Advertising Inquiries: https://redcircle.com/brands

Zoe Anderson Norris, known to her friends in the Ragged Edge Klub as the Queen of Bohemia, was born in Kentucky in 1860, moved to Wichita, Kansas, with her first husband, and then to New York City, where she forged a career for herself as a journalist and novelist, eventually launching her own magazine, The East Side. In The East Side and in her journalism, she often focused on the lives of immigrants and the poor. Joining me in this episode is Eve M. Kahn, author of Queen of Bohemia Predicts Own Death: Gilded-Age Journalist Zoe Anderson Norris.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “Come to the land of Bohemia,” composed by George Evans, with lyrics by Ren Shields; this performance by Hatvey Hindermyer was recorded on April 30, 1908, in New York, and is in the public domain and available via the Library of Congress National Jukebox. The episode image is of Zoe Anderson Norris from 1909, CC BY 4.0, via Wikimedia Commons.Additional Sources:“To Fight for the Poor With My Pen: Zoe Anderson Norris, Queen of Bohemia,” Grolier Club Online Exhibitions.“Zoe Anderson Norris,” by W.J. Lampton, New York Times, February 27, 1914.“Zoe A. Norris,” Kentucky in American Letters, 1784-1912,” by John Wilson Townsend, Cedar Rapids, IA: Torch Press, 1913.Advertising Inquiries: https://redcircle.com/brands

Dr. Marguerite Phillips Dorsey Cartwright, born May 17, 1910, in Cambridge, Massachusetts, was a journalist, sociologist, educator, and actress, who served as a correspondent for the United Nations, attended and wrote about both the Bandung Conference and the All-African People's Conference, and was appointed to the Provisional Council of the University of Nigeria, where she became one of five trustees. Joining me in this episode to discuss both Marguerite Cartwright and Black women’s leadership in the fight for human rights is Dr. Keisha N. Blain, Professor of History and Africana Studies at Brown University and author of Without Fear: Black Women and the Making of Human Rights.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode audio is “Down South blues,” written by Fletcher Henderson, Alberta Hunter, and Ethel Waters, and performed by The Virginians, in New York City, on September 25, 1923; the audio is available via the Library of Congress National Jukebox and is in the public domain. The episode image is “Portrait of Marguerite Cartwright wearing a dashiki, undated,” by John Schiff; the photograph is courtesy Leo Baeck Institute and is used under fair use guidelines. Additional Sources:“Marguerite Cartwright and African-American Internationalism [video],” Society of Southwest Archivists, August 13, 2021.“M. P. CARTWRIGHT,” The New York Times, May 9, 1986, Section D, Page 22.“Introducing Marguerite Cartwright,” Amistad Research Center.“Cartwright, Marguerite, 1910-1986,” Biographical Note, Marguerite Cartwright papers, Amistad Research Center.“Bandung Conference (Asian-African Conference), 1955,” Office of the Historian, United States Department of State.“AAPC Background,” Institute of African Studies, University of Ghana.Advertising Inquiries: https://redcircle.com/brands

The feminist anti-rape movement began in the late 1960s at the height of women’s liberation. As rape crisis centers relied on federal grants aimed at prosecution of those committing sexual violence, feminists worried about the conservatizing influence of those funds, and Black women in particular were not well-served by the developing model. Black women activists found their own methods to combat rape and to care for survivors. Joining me in this episode is Dr. Caitlin Reed Wiesner, Assistant Professor of History at Mercy University in Dobbs Ferry, New York, and author of Between the Street and the State: Black Women's Anti-Rape Activism Amid the War on Crime.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “Emotional Piano Music,” by Mikhail Smusev, used under the Pixabay Content License. The episode image is “Black Women Matter,” taken on September 30, 2017, at the March for Racial Justice by Miki Jourdan; the image is available on Flickr and is available for use, CC BY-NC-ND 2.0.Additional Sources:“Feminism: The Second Wave,” National Women’s History Museum, June 18, 2020.“How Ronald Reagan Tried to Shrink Government Spending,” by Christopher Klein, History.com, Published: November 21, 2024, and Last Updated: May 28, 2025.“A brief history of the Victims of Crime Act,” by Blair Ames, U.S. Department of Justice Office of Justice Programs, October 11. 2024.“The 2022 Violence Against Women Act (VAWA) Reauthorization,” Congress.gov.“What are Rape Crisis Centers and how have they changed over the years?” National Sexual Violence Resource Center, September 15, 2021.Rape, Abuse & Incest National Network (RAINN).Advertising Inquiries: https://redcircle.com/brands

The First Amendment to the US Constitution says that Congress cannot make law abridging the freedom of speech, but by as early at 1798, Congress was restricting immigration to the country on the basis of the ideological beliefs of the people who wanted to immigrate. While the reasons for restrictions have changed over time, as has the mechanism by which they’re enforced, the basic principle continues to today. Joining me in this episode is Dr. Julia Rose Kraut, legal historian and author of Threat of Dissent: A History of Ideological Exclusion and Deportation in the United States. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The episode music is “The Mask of Anarchy 1 (Strings)” by Victory Day from Pixabay in accordance with the Pixabay Content License. The episode image is "The Anarchist riot in Chicago: a dynamite bomb exploding among the police," by Thure de Thulstrup and published in the May 15th, 1886, Harper's Weekly 30 (1534): 312-313; image is in the Public Domain and is available via Wikimedia Commons.Additional Sources:“Nationality Act of 1790,” Immigration History, The Immigration and Ethnic History Society.“Alien and Sedition Acts (1798),” The U.S. National Archives and Records Administration.“The Alien Enemies Act: The One Alien and Sedition Act Still on the Books,” by Scott Bomboy, National Constitution Center, March 17, 2025.“The Sedition Act of 1798,” History Art, and Archives, United States House of Representatives.“Haymarket Affair: Topics in Chronicling America,” Library of Congress.“May 4, 1886: Haymarket Tragedy,” Zinn Education Project.“Emma Goldman (1869-1940),” PBS American Experience. Advertising Inquiries: https://redcircle.com/brands

Both Abigail Adams and Benjamin Franklin took trips in England to trace their family histories, and they weren’t alone among 18th century Americans, many of whom took a keen interest in genealogy and family connections. Joining me in this episode is Dr. Karin Wulf, Director and Librarian of the John Carter Brown Library, and Professor of History at Brown University and author of Lineage: Genealogy and the Power of Connection in Early America. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode audio is “Nothing like that in our family,” composed by Seymour Furth with lyrics by William A. Heelan and performed by Billy Murray on April 24, 1906; the audio is in the public domain and is available via the Library of Congress National Jukebox. The episode image is “Sampler,” by Sophia Dyer, 1819; the image is in the public domain and is available via the Metropolitan Museum of Art.Additional Sources:“Crossings- Abigail Was Here (Devonshire),” KathleenBitetti.com.“Benjamin Franklin to Deborah Franklin, 6 September 1758,” Founders Online, National Archives, https://founders.archives.gov/documents/Franklin/01-08-02-0034. [Original source: The Papers of Benjamin Franklin, vol. 8, April 1, 1758, through December 31, 1759, ed. Leonard W. Labaree. New Haven and London: Yale University Press, 1965, pp. 133–146.]“Genealogical Chart of the Franklin Family, [July 1758],” Founders Online, National Archives, https://founders.archives.gov/documents/Franklin/01-08-02-0029. [Original source: The Papers of Benjamin Franklin, vol. 8, April 1, 1758, through December 31, 1759, ed. Leonard W. Labaree. New Haven and London: Yale University Press, 1965, p. 120.]“Eliot’s Bible,” by Neely Tucker, Library of Congress Blog, August 6, 2024.“Isaiah Thomas Folio Bible, 1791,” Houston Christian University Dunham Bible Museum.“How Genealogy Became Almost as Popular as Porn,” by Gregory Rodriguez, Time Magazine, May 30, 2014.“Why Are Americans Obsessed with Genealogy?” by Libby Copeland, Psychology Today, October 13, 2020.“Our Story,” Ancestry.com.Advertising Inquiries: https://redcircle.com/brands

Before American independence and the Bill of Rights promising religious freedom, the American colonies were English territory governed by English religious law that mandated worship according to the Book of Common Prayer. Even Maryland, which had been founded as a place for Catholics to worship freely, was majority Protestant and intolerant of public Catholicism by the time of the Revolution. Nonetheless, Catholics, including wealthy English landowners, Irish servants, and enslaved Africans, continued to live and worship throughout the American colonies, finding ways to keep their beliefs and customs alive. Joining me in this episode is Dr. Susan Juster, W. M. Keck Foundation Director of Research at the Huntington Library and author of A Common Grave: Being Catholic in English America.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “Ave Maria,” composed by Charles Gounod and sung by Florence Hayward; the recording was made on January 30, 1905, in Philadelphia and is in the public domain and can be accessed via the Library of Congress National Jukebox. The episode image is “The Founding of Maryland, 1634,” painted by Emmanuel Leutze in 1860; the painting is in the public domain and is available via Wikimedia Commons.Additional Sources:“Jefferson's Letter to the Danbury Baptists,” Library of Congress.“10 facts about U.S. Catholics,” byJustin Nortey, Patricia Tevington, and Gregory A. Smith, Pew Research Center, March 4, 2025.“Maryland's History,” Maryland Secretary of State.“The Catholic church in colonial days : the thirteen colonies, the Ottawa and Illinois country, Louisiana, Florida, Texas, New Mexico and Arizona, 1521-1763,” by John Gilmary Shea, 1886.“American Catholic History Resources,” The Catholic University of America.“Catholicism in the Early South,” by Maura Jane Farrelly, Journal of Southern Religion 14 (2012).“Descendants of Jesuit Slaveholding and Jesuits of the United States Announce Historic Partnership,” Jesuit Conference of Canada and the U.S.Advertising Inquiries: https://redcircle.com/brands

In August of 1893, Madeleine Pollard sued Congressman William C.P. Breckinridge of Kentucky for breach of promise, claiming that he had promised to marry her but then had married another woman. By the time of the trial, Pollard and the much-older Breckinridge had been involved in an affair for nearly a decade. Breckinridge’s legal team attempted to paint Pollard as an “adventuress,” going so far as to hire an undercover detective – Jane Tucker – to get dirt on Pollard, but it was Breckinridge’s reputation that suffered as a result of the revelations in the trial, especially with the women of Kentucky. Joining me in this episode is Dr. Elizabeth DeWolfe, Professor of History at the University of New England in Maine and author of Alias Agnes: The Notorious Tale of a Gilded Age Spy.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “Wait until you see my Madeline,” composed by Albert Von Tilzer with lyrics by Lew Brown and performed by Billy Jones; the audio was recorded in Camden, New Jersey, on May 4, 1921 and is in the public domain and available via the Library of Congress National Jukebox. The episode image is a photo of Madeleine Pollard, by C.M. Bell, produced between 1873 and ca. 1916; the image is available via the Library of Congress Prints and Photographs Division, and there are no known restrictions on publication.Additional Sources:“The Celebrated Trial, Madeline Pollard vs. Breckinridge, The Most Noted Breach of Promise Suit in the History of Court Records,” American Printing and Binding Company, 1894, via the Internet Archive.“The Court Case That Inspired the Gilded Age’s #MeToo Moment,” by Annie Diamond, Smithsonian Magazine, November 2018.“Sex, politics and broken promises grabbed headlines in Lexington in 1893,” by Liz Carey, The Lexington Herald-Leader, April 23, 2025."“Not Ruined, but Hindered”: Rethinking Scandal, Re-examining Transatlantic Sources, and Recovering Madeleine Pollard," by Elizabeth DeWolfe, in Legacy: A Journal of American Women Writers, vol. 31 no. 2, 2014, p. 300-310. “BRECKINRIDGE, William Campbell Preston,” United States House of Representatives History, Art, and Archives.“W.C.P. BRECKINRIDGE DEAD.; Ex-Congressman's Public Career Ended After the Pollard Suit,” The New York Times, November 20, 1904.Related Episode:Sophonisba BreckinridgeAdvertising Inquiries: https://redcircle.com/brands

In 1912, wealthy Savannahian Juliette Gordon Low supposedly called her cousin and exclaimed: “Come right over! I’ve got something for the girls of Savannah, for all of America, and for the world.” That something would become the Girl Scouts of the USA, an organization that throughout its history struggled to fulfill its initial promise of inclusion for all girls while trying to maintain an apolitical stance with deference to local councils. Joining me in this episode is Dr. Amy Farrell, the James Hopes Caldwell Memorial Chair and Professor of American Studies and Women's, Gender and Sexuality Studies at Dickinson College and author of Intrepid Girls: The Complicated History of the Girl Scouts of the USA.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “By the campfire,” composed by Percy Wenrich with lyrics by Mabel Elizabeth Girling; the performance by the Sterling Trio on February 18, 1919, in New York, is available via the Library of Congress National Jukebox and is in the public domain. The episode image is “Girl Scouts, circa 1940s,” taken at Camp Long; Item 31422, Ben Evans Recreation Program Collection (Record Series 5801-02), Seattle Municipal Archives; used under CC BY 2.0.Additional sources:“Practical Patriotism: Camp Fire Girls, Girl Scouts, and Americanization,” by Leslie Hahner, Communication and Critical/Cultural Studies, 5(2), 2008, 113–134. https://doi.org/10.1080/14791420801989702.“New Quarter Honors Juliette Gordon Low, Founder of Girl Scouts,” by By Shannon Browning-Mullis, Smithsonian American Women’s History Museum, March 20, 2025.“Early Girl Scouting,” Georgia Historical Society.“Girl Scouts Through the Years,” Women’s History and Cultural Center.“100 years of Girl Scouts: part I,” by Adam Frost, Smithsonian Institute, May 30, 2012“Quick History: Juliette Gordon Low [video],” Northeast Georgia History Center, March 13, 2020.“Golden Eaglet: The Story of a Girl Scout [video],” Girl Scouts USA, 1919.“From 18 girls in Savannah to a global movement to make a difference,” Girl Scouts USA. “Girl Scout Cookie History,” Girl Scouts USA.Advertising Inquiries: https://redcircle.com/brands

On the slave ships that sailed between Salvador da Bahia, Brazil, and the West Coast of Africa from the 16th through the 19th Centuries, the crews included not just white sailors but also Black mariners, including a significant number of crewmen who were themselves enslaved. These enslaved mariners were not just a source of inexpensive labor but were also valued for their geographic, linguistic, and cultural skills, and they, in turn, could use the opportunity of labor on slave ships as a means of social mobility and eventually legal emancipation, or sometimes the chance for flight. Joining me in this episode to discuss these mariners is Dr. Mary E. Hicks, Assistant Professor of History at the University of Chicago and author of Captive Cosmopolitans: Black Mariners and the World of South Atlantic Slavery.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “Bahia Sunrise,” used under the Envato Market License - Music Standard License. The episode image is “Night Chase of the Brigantine Slaver Windward by HM Steam-Sloop Alecto,” Illustration for The Illustrated London News, by Frederick James Smyth, May 1, 1858; the image is in the public domain and is available via Wikimedia Commons.Additional sources:“A Brief History of Brazil,” by José Fonseca, The New York Times 2006.“A Chronology of Brazilian History,” The Atlantic,” February 1956.“2.3 The African Slave Trade and Slave Life,” Brazil: Five Centuries of Change, Brown University Center for Digital Scholarship.“4.2 Slavery and Abolition in the 19th Century,” Brazil: Five Centuries of Change, Brown University Center for Digital Scholarship.“The Contraband Slave Trade to Brazil, 1831-1845,” by Robert Conrad, Hispanic American Historical Review 1 November 1969; 49 (4): 617–638. “‘We need to tell people everything’: Portugal grapples with legacy of colonial past,” by Sam Jones, Gonçalo Fonseca, and Philip Oltermann, The Guardian, October 5, 2020.Advertising Inquiries: https://redcircle.com/brands

Ruth Reynolds, born in the Black Hills of South Dakota in 1916 to a strict Methodist family, may have seemed an unlikely ally to the cause of Puerto Rican independence, but she devoted her life to what she saw as her “sacred and patriotic duty” as an American to convincing her country to withdraw from Puerto Rico “so that our nation may stand before the world free from any suggestion of imperialist ambition.” Facing surveillance by the FBI and insular police and even incarceration for her views, Reynolds never backed down from her solidarity, but she was always careful to listen to the people of Puerto Rico and never to impose her view on them. Joining me in this episode is Dr. Lisa G. Materson, Professor of History at the University of California, Davis, and author of Radical Solidarity: Ruth Reynolds, Political Allyship, and the Battle for Puerto Rico's Independence. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is the original mid-19th century fast-tempo arrangement of “La Borinqueña,” which later as a slower arrangement became the regional anthem of Puerto Rico; the performance is by the United States Navy and is in the public domain; it is available via Wikimedia Commons. The episode image is from the arrest of Carmen María Pérez González, Olga Viscal and Ruth Reynolds, January 4, 1951, taken by Benjamin Torres, and archived at the Centro de Investigaciones Históricas, Universidad de Puerto Rico; the photograph is in the public domain.Additional Sources:“Ruth M. Reynolds Papers,” Center for Puerto Rican Studies, Centro Library & Archives, Hunter College, CUNY.“Puerto Rico at the Dawn of the Modern Age: Nineteenth- and Early-Twentieth-Century Perspectives,” Library of Congress.“Puerto Rican Independence Movement [video],” American History TV, C-Span, April 13, 2018.“Remembering Don Pedro: An Online History of Dr. Pedro Albizu Campos.” “Puerto Rico’s Independence Movement: What Americans need to know about the PIP and Puerto Rico's Independence,” by Javier A. Hernandez, LA Progressive, Originally posted January 27, 2025 and updated February 12, 2025.“How the U.S. silenced calls for Puerto Rico's independence [video],” by Bianca Gralau, August 26, 2021.“The Case for Puerto Rican Independence,” by Alberto C. Medina, Current Affairs, April 5, 2024.Advertising Inquiries: https://redcircle.com/brands

In March 1972, Selma James distributed a pamphlet that declared: “If we raise kids, we have a right to a living wage. . . WE DEMAND WAGES FOR HOUSEWORK. All housekeepers are entitled to wages. (Men too).” Soon it was a global movement, with Wages for Housework branches in the United Kingdom, Italy, the United States, and several other countries, and autonomous groups like Black Women for Wages for Housework and Wages Due Lesbians. Joining me in this episode is Dr. Emily Callaci, Professor of History at the University of Wisconsin-Madison and author of Wages for Housework: The Feminist Fight Against Unpaid Labor.Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “Get yourself a broom and sweep your troubles away,” composed by Albert Von Tilzer, with lyrics by James Brockman and Billy Rose, and performed by Frank Crumit and Frank E. Banta, in New York on December 19, 1924; the recording is in the public domain and is available via the Library of Congress National Jukebox. The episode image is a Wages for Housework poster drawn by Jacquie Ursula Caldwell in 1974, From the collection of Silvia Federici copyright Creative Commons, available via Wikimedia Commons.Additional Sources:“A Woman’s Place,” Selma James, 1953.“Women and the Subversion of the Community: A Mariarosa Dalla Costa Reader,” by Mariarosa Della Costa, 2019.“Statement of the International Feminist Collective,” July 1972.“Wages Against Housework,” by Silvia Federici, 1975.“All Work and No Pay [video],” Made by the Wages for Housework Campaign with the BBC TV's Open Door series, 1976, posted by Global Women’s Strike, January 15, 2023.“The women who demanded wages for housework - Witness History, BBC World Service [video],” Witness History, BBC World Service, February 12, 2014.“Covid-19 has made housework more visible, but it still isn’t valued,” by Kevin Sapere, The Washington Post, April 8, 2021.“Wages for Housework is 50. This is the change it has inspired,” by Leila Hawkins, Nadja.co, April 16, 2022.“‘They say it is love, we say it is unwaged work’ – 50 years of fighting to be paid for housework,” by Rosa Campbell, Gloria Media, December 19, 2022.“The ‘true value of women’s work,’” by Kristina García, Penn Today, July 26, 2023.Care Income NowAdvertising Inquiries: https://redcircle.com/brands