“If TIME had a beguiling woman that was going to make the cover, it often went to Boris Chaliapan,” says curator Jim Barber. Marilyn Monroe by Boris Chaliapan. 1956. Courtesy of the Estate of Marilyn Monroe, National Portrait Gallery

Fifty years ago on May 17, 1963, TIME magazine put James Baldwin on the cover with the story “Birmingham and Beyond: The Negro’s Push for Equality.” And to create his portrait, the weekly called on artist Boris Chaliapan. Baldwin’s intense eyes and pensive expression stared out from newsstands across the country.

“Chaliapan,” explains National Portrait Gallery curator Jim Barber, “tried to capture the essence of a person and their personality.” Though the magazine had contracts with a dozen or so other cover artists, Chaliapan was part of the prominent threesome dubbed the “ABC’s” with artists Boris Artzybasheff and Ernest Hamlin Baker. Known for his spot-on likenesses, Chaliapan could also be counted on for a quick turnaround. “Unlike the other cover artists that needed a week or two, Chaliapan…if pressed, he could crank out covers in two or three days,” says Barber.

Over his nearly 30 year career with TIME, Chaliapan produced more than 400 covers and earned the nickname “Mr. TIME.” He portrayed the day’s biggest stars and helped illustrate each week’s cover story with a fresh portrait.

Born in Russia, Chaliapan trained as an artist there before journeying to Paris, France to continue his education. Eventually making his way to the United States, he found work with TIME magazine and in 1942 produced his first cover for them of a WWII general. Chaliapan often worked from photographs to create his covers, made with watercolors, tempera, pencil and other materials. Other than his speed and technical skill, Chaliapan was known for his portraits of beguiling starlets like Marilyn Monroe and Grace Kelly.

From the National Portrait Gallery’s more than 300 Chaliapan covers, Barber selected 26 for a new exhibit, “Mr. TIME: Portraits by Boris Chaliapan,” opening Friday, May 17. “I wanted to show Chaliapan’s entire career,” says Barber.

By the end of that career, painted portraits were on their way out for magazine covers. Photographs and more thematic illustrations were being used more frequently. Chaliapan’s covers capture a snapshot of the news from days gone by, but also of the news industry itself. His final cover was of President Nixon in 1970.

Alfred Caplin, better known as Al Capp and the creator of comic Li’l Abner, made the cover in 1950 and was joined by two of his characters. “According to the cover story, Capp in 1950 was making $300,000 a year, he was being read by 38 million fans in 700 U.S. newspapers,” explains Garber. By Boris Chaliapan. Courtesy of the National Portrait Gallery

A personal favorite of Jim Garber, this cover illustration of tennis star Althea Gibson shows the layers of the artist’s process, building up from the court, to the racket, to the lines and then to the portrait itself. By Boris Chaliapan. 1957. Courtesy of the National Portrait Gallery

The much-adored First Lady made the cover of the issue announcing Kennedy’s election. “It’s all in the details, that’s what makes these covers so fun,” says Garber, pointing to the baby carriage that symbolized their recently born son, John-John. By Boris Chaliapan. 1960-61. Courtesy of the National Portrait Gallery.

Known for his quick wit as much as his quick jab, Cassius Clay (who would later change his name to Muhammad Ali) made the cover in 1963 with a book of poetry referencing his playful poetic taunts launched at his opponents. By Boris Chaliapan. Courtesy of the National Portrait Gallery

Chaliapan actually got to visit with Julia Child, swapping recipes, for this 1966 cover. But the results did not delight everyone, including one reader who compared the chef circled by floating pans and a fish to the “first apparition in Shakespeare’s Macbeth.” By Boris Chaliapan. Courtesy of the National Portrait Gallery

“Mr. TIME: Portraits by Boris Chaliapan” is on view at the National Portrait Gallery through January 5, 2014.

Landscape designer Margie Ruddick’s “Urban Green Room,” the first permanent living indoor installation, helped her win a National Design Award last week. Photo by Sam Oberlander

“Nature” is probably the last word that comes to mind when most people think about urban design. That’s not the case for landscape designer Margie Ruddick, though. For the past 25 years, she has created parks, gardens and waterfronts that blend ecology with city planning.

In New York City, home to many of her works, Ruddick has transformed Queens Plaza by merging plants, water, wind and sun with the city’s infrastructure, and designed a 2.5-acre park along the Hudson River in Battery Park City out of materials recycled from other parks in the area. Her most recent project took nature indoors at Manhattan’s Bank of America Tower, where she created a winter garden with four tall sculptures made of thousands of ferns, mosses and vines. This “Urban Garden Room” was the first ever permanent installation of a living sculpture.

Last week, Smithsonian’s Cooper-Hewitt, National Design Museum announced that Ruddick would be one of this year’s ten recipients of a 2013 National Design Award, hers for landscape architecture. We caught up with her via e-mail after the announcement to ask her about her work. Below, she tells us more about her award-winning “green” approach to design, why it is important and what it will mean for the future of architecture.

For 25 years, Margie Ruddick has designed parks, gardens and waterfronts that blend ecology with city planning. Photo by Jack Ramsdale

What is the idea behind living sculptures in urban design? What effect do they have?

The idea for this space was to allow visitors to feel immersed in nature in a small interior space with severe natural light limitations.  A traditional atrium planting (like the bamboo in the 590 Madison Ave Atrium, formerly the IBM building) would have had little impact, given the small space, plus traditional plantings would have leaned toward the light. (Keep in mind that a fascination with over-sized, topiary sculptures has emerged in the past decade. Jeff Koons‘ “Puppy” is one of his most popular pieces, constantly traveling to enliven public spaces around the world.)  The effect I wanted to have in the Urban Garden Room was to feel as if you have stepped out of the city and into a fern canyon. Visitors report that there is something about the air quality—the humidity and the smell of earth—that automatically makes them feel more relaxed and able to breathe deeply and calmly.

Why are urban green environments important in a city?

OMG!  From ancient Chinese gardens to Vitruvius to Olmsted (and to the present era of urban greening) people have recognized the health impact of green spaces—cleaning air, cooling the earth, etc.—but also the psychological impact.  There are numerous studies finding that parks and green spaces improve mood, focus, and even intelligence.  I think a city without green environments can hardly survive .

How did you get involved in creating these types of environments?

I joined the horticulture work crew of Central Park in 1983 and two years later went to graduate school in landscape architecture.  I was bitten by the bug!

What role do you see green projects playing in architecture in the next 10 years?

More and more architectural proposals integrate “a green element” into buildings and built environments.  Green roofs, wild green terraces – the vision in a lot of architecture journals these days is of nature completely integrated as part of the city and part of architecture, rather than distinguishing between nature and building.  But, a lot of the images look like the architecture has been colonized by wild plantings, and not conceived from the same idea or the same pen.  I do think right now it is something of a fad, and that in ten years the reality of how you actually do this and keep buildings standing up and water-tight will have led to an architecture that doesn’t look as much like something that was left to go to seed, but a tighter and more rigorous integration of green into structure.

Ruddick transformed Queens Plaza by merging plants, water, wind and sun with the city’s infrastructure. Photo courtesy of Flickr user mpstudio123

What obstacles do you have to overcome when creating a living sculpture or an “urban green machine” in the middle of New York City?

The obstacles are huge, for both public streetscapes and private buildings. At Queens Plaza [where "Urban Green Machine" was installed], the design team and client had to navigate between numerous city and state agencies. Bureaucratic coordination is probably the biggest challenge, as well as staging construction in order never to close streets, and then the question of who is going to maintain the landscape and with what funds.  In the case of the Urban Garden Room, the construction and maintenance costs were and are prohibitive, but The Durst Organization decided that they would invest in a signature green space in the city’s first LEED platinum building.  The structural issues, staging issues (to get the sculpture in 13 pieces shipped to New York from Montreal and installed in the building over one weekend), and maintenance issues were enormous.  There were also a lot of plant losses.  The bulk of the sculpture planting is now the two or three most vigorous plants, as a number of plant species did not adjust through a chaotic first season.

What projects are you working on now?

I never know very far ahead what is coming down the pike—I work on a small number of projects at a time, collaborating closely with architects, artists and landscape architects on everything from concept through details.  I am currently working on a housing project in Taiwan, a marine ecology project on Long Island and a water garden for a private residence in Miami—he gamut from planning to finely honed design.  I also have written a book, Wild By Design [forthcoming] that I hope will raise consciousness about landscape, how important it is and how we actually go about working in the field.

What does it mean to you to win a National Design Award?

It has a professional meaning as well as a profound personal relevance.  Professionally, I am really gratified to see that this year’s winners are mostly individuals, doing work that is very particular, in addition to being pioneering.  I think it reflects the rising value the culture gives to creativity, and the art of what we do.  Personally, I grew up visiting the Cooper-Hewitt often, to the galleries and lectures, and there is no telling what I would be without these visits.  There is no institution in America that has done more for designers and design education, so receiving this award is seriously humbling.

Queens Plaza. Photo courtesy of Flickr user mpstudio123

Sheila E. jokes that she slowed down for a few hours before stopping by the African Art Museum en route to a show Thursday evening at the Howard Theater. Photograph by Jessica Suworoff, National Museum of African Art, Smithsonian Institution

In high heels and flawless fashions, Sheila E. has been rocking the drums since she was a teenager growing up in Oakland, California. At 55, she’s still not slowing down. She’s collaborated with artists like Michael Jackson and Prince, toured the country and is currently working on a new album and autobiography, From Pain to Purpose, due out next year. In town for a show at the Howard Theater Thursday, May 16, she stopped by the African Art Museum for a performance with the Farafina Kan Youth Ensemble drummers. “I slowed down for a couple hours this morning,” she jokes about her hectic life.

It’s a pace and spirit that have become her signature no matter what genre she’s performing in. But those high energy concerts come with a cost. “It’s very demanding,” says the star who regularly ices her hands and feet after shows. “I just had a procedure done on my arm, my elbow and my wrist so it’s still painful to play,” she says. “It’s just things that happen from playing all of these years for so long but I love what I do.”

Sheila E. was born Sheila Escovedo, daughter of percussionist Peter Escovedo. Surrounded by a whole host of musical uncles and godfather Tito Puente, she picked up the drums at a young age. But, she says, “I didn’t know that music was going to be my career.” Instead, she had plans to be either the first little girl on the moon or an Olympic sprinter. Interrupting her training, she took to the stage to perform with her dad when she was 15. “And that changed my whole life.”

Her family and her hometown of Oakland provided precisely the kind of creative fertile ground she needed to experience all kinds of music. “My dad is totally the foundation of who I am,” says Escovedo. “He’s a Latin jazz musician, but he also brought different kinds of music into the house,” she says, adding that it’s this sort of artistic range that has helped her have such longevity in her career. Oakland also provided its own mix of music for the young artist. “I’ll tell you, it’s the best place to be born. I love D.C. but the Bay Area, oh my gosh.” Calling it a mecca for music with a rich variety of ethnicities, Escovedo cited the many bands that came from the area, including her uncle’s band, Azteca.

Though her father tried to persuade her at first to take up violin, he never let her think she couldn’t play the drums. “I grew up in a home where my parents never said that it was wrong to play because I was a girl,” says Escovedo. She remembers going to her friends’ houses and asking where all the percussion instruments were, thinking it was typical of all homes.

Once she got in the industry and began working with everyone from Marvin Gaye to Lionel Richie, she says she encountered some resistance as a female musician. But her parents told her, “Just do what you do, play from the heart, be on time, be early, learn your craft and when you get in there…be prepared so when you walk in you walk in with confidence.”

The Farafina Kan Youth Ensemble performed for Sheila E. before she jumped in to play along. Photo by Leah Binkovitz

After taking off her sparkling watch and ring, Sheila E. joined in. Photograph by Jessica Suworoff, National Museum of African Art, Smithsonian Institution

Anyone who’s seen her perform or watched her delight audiences during Drum Solo Week on the “Late Show with David Letterman” knows that she’s not wanting for confidence. She’s also not wanting for inspiration. The artist says she’s tried almost every genre of music, including polka, though she’s most well-known for her songs “The Glamorous Life” and “A Love Bizarre,” collaborations with Prince. With one country song under her belt, she says she’s now trying to encourage her friend Garth Brooks to record with her.

When she’s not writing books or in the studio, she likes to search YouTube for up and coming female percussionists. “There are more women percussionists, young girls playing now than ever,” says Escovedo, and that includes girls from her own Elevate Hope Foundation, which seeks to bring music and art to children who have been abused or abandoned to help them heal and communicate.

Contemplating what item she would donate to the Smithsonian if given the chance, she says it’s almost impossible to decide, despite a garage full of instruments. “The thing is, everywhere I go, if I pick something up, you know, that tube over there or this water bottle, I can play it as an instrument.”  In fact, she says, “On Michael Jackson’s album, the first one that he did, “Off the Wall,” he wanted me to come in and play this sound and to emulate it the only thing that I could think of was to get two water bottles, like two Perrier water bottles. I poured water in them to tune to the actual track, ‘Don’t Stop ‘Til You Get Enough.’” With two pieces of metal, she hit the glass. “So that’s me playing the bottles.”

After her show in D.C., Escovedo says it’s back to the studio to record a track for her album with Chaka Khan. “I say yeah, I’m going to slow down,” she says, but, “I get on stage and I get crazy. It’s in me. I’ve got to do it.”

Lillian Gish played a girl haunted by the wind of the western prairies in the 1928 silent film The Wind. On Sunday, see the film set to a live piano concert at the American Art Museum. Photo by Movie-Fan, courtesy of Flickr Creative Commons

Friday May 17: Modern art conservation: palimpsest

What does it take museums to conserve art projects that go beyond a painted picture? Ann Hamilton‘s palimpsest is an installation in the exhibition “Over, Under, Next: Experiments in Mixed Media, 1913-present” that takes up a small room, whose walls are covered in loosely hanging newsprint sheets with handwritten scrawls across them. In the middle is a glass case that contains two heads of cabbage being eaten by 20 snails. This afternoon, Conservator Gwynne Ryan discusses the conservation issues surrounding this challenging artwork. Free. 12:30 p.m. Hirshhorn Museum.

Saturday, May 18: The art of Japanese pouch-books

The Japanese “pouch-book” was a common format used for novels, romances and comedies during the Edo period (1603-1868)—but you can still make one today! Artists from Pyramid Atlantic Art Center are in the Sackler Gallery this afternoon to show you how, with plenty of supplies. You get to take your masterpiece home when you’re done. $15 materials fee. 1 p.m. Sackler Gallery.

Sunday, May 19: The Wind

Two good Sunday afternoon activities: watching movies, listening to music. One great Sunday afternoon activity: both at the same time! This afternoon, in a very special “cineconcert,” composer and pianist Andrew E. Simpson performs a new, original score for The Wind, a silent film classic form 1928. In the movie, Lillian Gish plays an innocent girl who moves to the western prairies and is haunted by the ever-present wind. Free tickets distributed 30 minutes before the film in the G Street Lobby. 3 p.m. American Art Museum.

Also, check out our Visitors Guide App. Get the most out of your trip to Washington, D.C. and the National Mall with this selection of custom-built tours, based on your available time and passions. From the editors of Smithsonian magazine, the app is packed with handy navigational tools, maps, museum floor plans and museum information including ‘Greatest Hits’ for each Smithsonian museum.

For a complete listing of Smithsonian events and exhibitions visit the goSmithsonian Visitors Guide. Additional reporting by Michelle Strange.

Zachary Quinto and Chris Pine in the 2013 ‘Star Trek Into Darkness.’

On the eve of the release of the latest feature-film from the “Star Trek” mega-brand, scholar and curator Margaret Weitekamp argues that the fictional series of space exploration helped define and inspire real world parallels. From advancing diversity in NASA to anticipating new technologies, “Star Trek” left its mark on American culture. Weitekamp, the Air and Space Museum’s curator of space science fiction materials, including a 14-foot model of the Enterprise, says, it will continue to do so.

Since the original series aired in the 1960s, “Star Trek” has grown to include five different series, 12 movies and a vibrant fan culture that supports a multi-billion dollar industry.

Many of the people working in the spaceflight industry, says Weitekamp, are also huge fans of the franchise. That includes Mike Gold, chief counsel at Bigelow Aerospace, who is currently working on the Bigelow Expandable Activity Module (BEAM), an inflatable module for the International Space Station. Gold and Weitekamp will be joined by two more Trek fans for a panel Thursday May 16, “Star Trek’s Continuing Relevance,” at the Air and Space Museum.

We spoke with Weitekamp over the phone about her career, why “Star Trek” matters and her own spaceflight ambitions.

How did you turn “Star Trek” into a scholarly pursuit?

I have a Ph.D. in history from Cornell and while there, Cornell has a rather innovative program of writing in the discipline, where for their freshman composition classes, you can create a course about anything you want because the content is not what is graded, it’s the teaching of writing in sociology, or history, or philosophy.

So I created a space history and science fiction class that I taught a few times while at Cornell.

How does “Star Trek” inspire industry?

The original ‘Star Trek’ series, from 1966 to 1969, had a very diverse cast as the command crew of the Starship Enterprise. When NASA was recruiting astronauts in the 1970s, they weren’t getting the diversity of female and minority applicants that they had hoped that they would. So they actually hired Nichelle Nichols, who is the actress who played Lieutenant Uhura, an African American actress who was part of that command crew, to do a public relations campaign in the 1970s with the theme that “there’s space for everyone.” They saw the number of women and people of color applying go up after her  campaign in 1977 and 1978. So there have been some instances of a very direct relationship. And then also just the broader sense of being interested in what’s possible in terms of space flight and thinking about the ways in which who we are gets translated when you go into space.

How close are we to the future “Star Trek” envisions?

Not as close as people would like. The lack of a transporter and the lack of a warp drive has kept humanity a lot closer to home than I think people had hoped we would be being this far into the 21st century.

On the other hand, there are a lot of ways in which, in terms of global communication, people are much farther in ways ‘Star Trek’ didn’t necessarily anticipate.

People had hoped that some day they would be able to walk around with a thin tablet or with a communicator on their belts and, in fact, we now have moved passed flip phones to having a kind of mini-computer in your hands when you’re on your smart phone.

There are some ways in which I think we’re living the dream but the physical transportation of people out between star systems is still hundreds if not thousands of years out.

Would you consider going into space?

If there’s some need to send a historian mother of three into space, I think that would be tremendously exciting.

What do you like about “Star Trek?”

I personally, as a scholar, am really intrigued by the ways that it can be both a driver for social change but also a commentary on the political and social situation at the time. The original ‘Star Trek’ series, for example, had a lot of discussion about racial integration and gender roles and was very self-consciously a social commentator. As someone who is interested in American culture and society as a historian, it’s a really rich source for looking at the ways in which people have engaged with those issues.

And as a fan, what do you like about it?

I am more of a Next Generation fan and was also a kind of closet Trek fan and a ‘Star Wars’ fan. I am always interested in gender roles and ‘Star Trek’ has had some very innovative plot lines where they talked about women’s roles in society. Despite the mini-skirts of the original series, they have done some very innovative gender stuff.

Which is better, “Star Trek” or “Star Wars?”

Actually, I’m very ecumenical on this. I really like both. I grew up more as a ‘Star Wars’ fan but I have really come to like how rich ‘Star Trek’ is in terms of the scholarly analysis and that’s something that’s a lot of fun for me personally and professionally. I’m going to have to come down solidly on the fence of saying I like both.

‘Star Trek’ has more self-consciously, commented on its social and political context…Although the ‘Star War’ universe has all of those six movies kind of working to tell one continual arc of a story, the ‘Star Trek’ universe has really worked to knit together many disparate pieces: TV shows, movies, fan culture, novels, merchandise, into one, what has been called by scholars, megatext.

“Star Trek Into Darkness” will be showing at the Udvar-Hazy Center’s IMAX theater.

Gil Goldstein and Bobby McFerrin.

Joann Stevens, of the American History Museum, is the program manager of Jazz Appreciation Month (JAM). She last wrote about Hawaiian cowboys.

In a career spanning nearly four decades, jazz artist Gil Goldstein’s talents have earned him kudos as educator, performer, composer, producer, arranger and film scorer. But perhaps his most notable role is as collaborator and mentor. Drawing on a formula of humility, curiosity and seemingly boundless creative energy, Goldstein’s collaborations have earned him worldwide recognition and the respect of A-list musicians exploring uncharted musical territory.

He has arranged for artists as diverse as Chris Botti, David Sanborn, Milton Nascimento, Randy Brecker, Manhattan Transfer and Al Jarreau, and performed with Pat Martino, Lee Konitz, Gil Evans, Billy Cobham, and Ray Barretto, among others. Film and TV music projects include performances, orchestrations and arrangements in ABC After School Specials, the films De-Lovely, Little Buddha, Frida, and dozens of others.

Not bad for a kid who got his musical start playing accordion in Baltimore, Maryland, where he recalls a TV show that had  ”maybe 100 kids” featured on accordion.  “When it was no longer hip, I said I’d better get rid of this thing,”  he says explaining  his move from accordion to piano and synthesizer.  Still the accordion is a great instrument to learn to play music on, he says. “It’s always been part of my consciousness.”

Goldstein’s current collaboration is with ten-time Grammy-winning vocal innovator Bobby McFerrin. On May 13, the pair will perform at the Kennedy Center with Goldstein lending his talents as arranger and performer on piano and accordion to support McFerrin’s new Spirityouall, a concert series and recording project featuring some of the beloved spirituals he recalls from his youth.

The creative duo.

McFerrin’s project also pays tribute to his father Robert McFerrin, Sr, the first African-American male to perform with the New York Metropolitan Opera, and the singing voice of Sidney Poitier’s Porgy in the film Porgy and Bess. Arranged and produced by Goldstein, the project is the kind of comfort zone stretching challenge that Goldstein relishes to expand his musical education and creativity and take him in new directions.  (Joann, you need to clarify what you mean here with some kind of example, otherwise the sentence leaves the reader wondering what you mean. There’s a kind of ambiguity in that sentence that could imply that the musician is noted for some sort of a easy listening, not worthy of intellectual consideration, or lacks creative impact. That’s not what you meant, right? )

“I didn’t grow up with spirituals,” Goldstein says of his unfamiliarity with the music.  While working on the project an encounter with jazz bassist Esperanza Spalding, who he’d collaborated with on her jazz chart busting CD, provided needed insight and inspiration. “She turned me onto an African American hymn book.  It was perfect!  I learned so much.  I’m always learning.”

His respect for lifelong learning and the exchange that comes from “good” mentoring and collaborations are staples of Goldstein’s creative process.  When he co-arranged and co-produced Spalding’s third CD, Chamber Music Society, neither knew it would become the best-selling contemporary jazz album of 2011, selling over 100,00 units, a rarity in modern jazz.  They just knew they were creating something mutually satisfying and exciting.

Spalding went on to be named #1 in the Contemporary Jazz Artist Category that year and become the first jazz artist to win a Grammy in the Best New Artist Category, beating out pop idol Justin Bieber.  It was her first Grammy win. (Spalding was also a recipient of Smithsonian magazine’s first annual Ingenuity Awards in 2012.)

“Esperanza had a concept for Chamber Music Society.  I just enabled it,” says Goldstein.  He connected her to the best string players and encouraged her artistic vision for a jazz/classical/world music music fusion album that incorporated the work of 18th-century poet William Blake.  Supporting an artists’ vision ”is a kind of mentoring,” he says. ”That was one of those good ones, a win-win.”

A 2010 commission from the Schleswig-Holstein Musik Festival to commemorate the 200th anniversary of Frederic Chopin’s birth also sparked a collaboration with McFerrin. This time Goldstein adapted Chopin’s piano music to big band and McFerrin’s voice. Polish folk music that had influenced Chopin was added for zest along with compositions by Debussy and Brazilian composer Antonio Carlos Jobim, both artists inspired by Chopin.

The best mentoring and collaborative relationships are mutually beneficial, he says, a two-way street fueled by creativity and respect. As an accompanist, he says he strives for flexibility, leaving “space” for artists  “to express themselves.  That’s how I learned,” he says. “I was a terrible student who didn’t take well to someone telling me this is how you have to do it. I became an arranger by making it up, by being prepared to fail.”

That learning style might partly explain why his music education stretched out over five colleges.  He spent two years at American University, one at Berklee College of Music, and another two at the University of Maryland, before receiving a BA in music. He then earned a masters in music at the University of Miami (where jazz guitarist Pat Metheny was a classmate) and a doctorate at The Union Graduate School.

Today Goldstein teaches at New York University, the Mead School for Human Development and the New School.  He says he encourages his students to retain a healthy respect for and awe of musical elders that have been trailblazers. He credits guitar influences like Jim Hall and Pat Martino as inspirations, and remembers college classmate Metheny ”being very clear and humble about who his influences are. I think that’s a healthy thing to have a degree of respect for somebody. No one develops in a vacuum.”

Electronic Superhighway: Continental U.S., Alaska, Hawaii. 1995. Nam June Paik. Courtesy of the Smithsonian American Art Museum, Gift of the artist.

Tuesday, May 14: Grand Challenges Share Fair

Even Smithsonian magazine can have a hard time keeping up with all the great research that Smithsonian scholars are doing around the world. From the stars to the seas, experts are hard at working fulfilling the institutional mission to increase and diffuse knowledge. To complete the second part, the Grand Challenges Share Fair offers everyone the chance to hear about some of the cutting edge research via a live webcast. Catch Kristofer Helgen of the Natural History Museum for his talk, “The Roosevelt Resurvey: Leveraging the Contributions of the Smithsonian and President Teddy Roosevelt for Wildlife Conservation Insight in Africa.” Or hear about the Deep Reef Observation Project from Carole Baldwin. Opening remarks from Secretary G. Wayne Clough begin at 1:00 p.m. Free. 1:00 p.m. to 3:30 p.m. Webcast.

Wednesday, May 15: The Films of Nam June Paik

When the father of video art gets behind a camera, you can be sure the results will be engaging. Known for his playful embrace of new technologies, Nam June Paik’s “Electronic Superhighway” has long been a staple at the American Art Museum. Joined now by more than 60 additional works from the Korean-born artist for the exhibit “Nam June Paik: Global Visionary,” the map made of televisions serves as a sort of introductory manifesto. Curator John G. Hanhardt, who worked with Paik to bring his archive to the museum, will be on hand to discuss the films and Paik’s legacy. during Free. 6:30 p.m. American Art Museum.

Thursday, May 16: Take 5! Jazz Night

You’ve made it to Thursday, now relax with a little after-work concert courtesy the Night and Day Quintet. And should the music of George and Ira Gershwin, Richard Rodgers and Lorenz Hart, and Cole Porter inspire you, ArtJamz will be there as usual with all the art supplies you need to create your own masterpiece in the Kogod Courtyard. Free. 5:00 p.m. to 8:00 p.m. American Art Museum.

Also, check out our Visitors Guide App. Get the most out of your trip to Washington, D.C. and the National Mall with this selection of custom-built tours, based on your available time and passions. From the editors of Smithsonian magazine, the app is packed with handy navigational tools, maps, museum floor plans and museum information including ‘Greatest Hits’ for each Smithsonian museum.

For a complete listing of Smithsonian events and exhibitions visit the goSmithsonian Visitors Guide. Additional reporting by Michelle Strange.

This weatherboard-clad slave cabin, listed in the National Register of Historic Places, is currently being moved to the Smithsonian Institution from its original location on Edisto Island, South Carolina. Photo courtesy of The National Museum of African American History and Culture

UPDATE: Curator interview reveals more historical information about the cabin.

Point of Pines Plantation on Edisto Island, South Carolina, had more than 170 slaves before the Civil War working in the fields to pick Sea Island cotton. Not much evidence of the slaves’ daily toil exists now, though, except for a couple one-story, dilapidated cabins–the last physical reminders of the brutal and degrading living conditions of the enslaved, as well as an emblem of the strength and endurance of the nearly four million Americans living in bondage by the time of the war.

Today, the National Museum of African American History and Culture (NMAAHC) announced the acquisition of one of these 19th-century cabins, which was donated by the Edisto Island Historic Preservation Society last month after they received it from the plantation’s current owners. The cabin will travel to its new home at the Smithsonian to preserve the story it stands for.

Slave cabins are held in other museums and collections around the country. However, NMAAHC focused on acquiring one from Edisto Island, says curator Nancy Bercaw, who is in South Carolina this week to oversee the relocation project, is that the Point of Pines plantation was one of the first places where slaves “self-emancipated” themselves before the Emancipation Proclamation. South Carolina’s coastal islands, Bercaw says, were the earliest territories overtaken by Union troops. Point of Pines became a Union stronghold in 1861, and the African Americans living on the plantation, along with other slaves from around the area who had left their owners, declared themselves free.

Photo courtesy of The National Museum of African American History and Culture

Museum representatives just arrived at the plantation this morning to begin the week-long process of taking the cabin apart, piece by piece, and driving it up to the Washington, DC area. Officials say that every board and nail will be carefully numbered and packaged for shipment. The cabin eventually will be reconstructed inside the African American History and Culture Museum, which is scheduled to open in 2015.

Already, dismantling the cabin and examining the site has revealed details about the plantation’s slave community, says Bercaw. The cabin is now understood to have been part of a larger “slave street,” which consisted of up to 25 similarly small dwellings built in a row along a road. Bercaw and her team are working with Low Country Africana, too, to interview local descendents of the slaves. Their stories will supplement the documentation of the community’s history.

“The Point of Pines slave cabin will help us share the living history of a place and the resilience of the people, who, in the darkest days of slavery, built the cabin, cleared the land, worked in the fields and raised their families there,” says  Bercaw. “The cabin will be one of the jewels of the museum positioned at its center to tell the story of slavery and freedom within its walls.”

Lonnie Bunch, the museum’s founding director, says: “Slavery is one of the most important episodes in American history, but it is often the least understood. By exhibiting this cabin, NMAAHC will ensure that the rich, complex and difficult story of the enslaved will be made accessible for the millions who will visit the museum.”

The cabin will be the focal piece of the museum’s exhibition “Slavery and Freedom,” which examines slavery’s role in shaping America and its lasting impact on African Americans.

The Museum currently is in the early stages of construction, but stop by its recently opened onsite Welcome Center to preview what is to come.

Zelda Sayre Fitzgerald and F. Scott Fitzgerald by Harrison Fisher, 1927; Conté crayon on paperboard; National Portrait Gallery, Smithsonian Institution; gift of Fitzgerald’s daughter, Mrs. Scottie Smith

Amy Henderson, curator at the National Portrait Gallery, writes about all things pop culture. Her last post was on technological revolutions.

As someone who adores sequins and feathers, I am buzzing with anticipation over what the New York Times has dubbed “an eminently enjoyable movie,” Baz Lurhmann’s new film version of The Great Gatsby.  Will I like Leo DiCaprio  as Gatsby? Will Jay-Z’s music convey the fancy-free spirit of High Flapperdom?

F. Scott Fitzgerald is credited with coining the phrase “The Jazz Age” in the title of his 1922 collection of short stories, Tales of the Jazz Age. He also became its effervescent chronicler in his early novels This Side of Paradise (1920) and The Beautiful and the Damned (1922), along with another short story collection, Flappers and Philosophers (1920).  Published in 1925, The Great Gatsby was the quintessence of this period of his work, and evoked the romanticism and surface allure of his “Jazz Age”—years that began with the end of World War I, the advent of woman’s suffrage, and Prohibition, and collapsed with the Great Crash of 1929—years awash in bathtub gin and roars of generational rebellion. As Cole Porter wrote, “In olden days a glimpse of stocking/Was looked on as something shocking,/But now God knows,/Anything Goes.”  The Twenties’ beat was urban and staccato: out went genteel social dancing; in came the Charleston. Everything moved: cars, planes, even moving pictures. Hair was bobbed, and cigarettes were the new diet fad.

Gloria Swanson by Nickolas Muray, c. 1920 (printed 1978) (c)Courtesy
Nickolas Muray Photo Archives; gelatin silver print; National Portrait
Gallery, Smithsonian Institution

According to his biographer Arthur Mizener, Fitzgerald wrote his agent Maxwell Perkins in 1922: “I want to write something new. . .something extraordinary and beautiful and simple.” Like today, newness was fueled by innovation, and technology was transforming everyday life. Similar to the way social media and the iPhone shape our culture now, the Twenties burst with the revolutionary impact of silent movies, radio and recordings. New stars filled the mediascape, from Rudolph Valentino and Gloria Swanson, to Paul Whiteman and the Gershwins. Celebrity culture was flourishing, and glamour was in.

Paul Whiteman in “King of Jazz” by Joseph Grant, 1930; India ink and
pencil on paper; National Portrait Gallery, Smithsonian Institution; gift
of Carol Grubb and Jennifer Grant Castrup

Accompanied in a champagne-life style by his wife Zelda, the embodiment of his ideal flapper, Fitzgerald was entranced by the era’s glitz and glamour. His story “The Diamond as Big as the Ritz,” he admitted, was designed “in the familiar mood characterized by a perfect craving for luxury.” By the time he wrote Gatsby, his money revels were positively lyrical:  when he describes Daisy’s charm, Gatsby says: “Her voice is full of money,” and the narrator Nick explains, “That was it. I’d never understood before. It was full of money—that was the inexhaustible charm that rose and fell in it, the jungle of it, the cymbals’ song of it.”

Fitzgerald acknowledges the presence of money’s dark side when Nick describes Tom and Daisy: “They were careless people—they smashed things up. . .and then retreated back into their money. . .and let other people clean up the mess they had made.”  But his hero Gatsby is a romantic. He was a self-made man (his money came from bootlegging), and illusions were vital to his world view. Fitzgerald once described Gatsby’s ability to dream as “the whole burden of this novel—the loss of those illusions that give such color to the world so that you don’t care whether things are true or false as long as they partake of the magical glory.”

Rudolph Valentino by Johan Hagemeyer, c. 1921; gelatin silver print;
National Portrait Gallery, Smithsonian Institution; Alan and Lois Fern
Acquisition Fund

Gatsby sees money as the means to fulfilling his “incorruptible dream.” When Nick tells him, “You can’t repeat the past,” Gatsby is incredulous:  “Can’t repeat the past? Why of course you can.”   (Cue green light at the end of the dock: “So we beat on, boats against the current, borne back ceaselessly into time.”) As critic David Denby recently wrote in his New Yorker review of the Luhrmann film: “Jay Gatsby ‘sprang from his Platonic conception of himself,’ and his exuberant ambitions and his abrupt tragedy have merged with the story of America, in its self-creation and its failures.”

It was the American Dream on a spree. Fitzgerald ends Gatsby intoning his dreamlike vision of the Jazz Age: “the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter—tomorrow we will run faster, stretch out our arms farther. . . .And one fine morning—”

Carey Mulligan as Daisy. Photo by Courtesy of Warner Bros. Picture – © 2013 Bazmark Film III Pty Limited

The drinks were freer, the music brassier and the times, well, Gatsby-er. At least, that’s the picture F. Scott Fitzgerald creates with his tales of high society run wild in his 1925 novel, The Great Gatsby. Now set for yet another screen adaptation, this time thanks to the energetic hands of Baz Luhrmann, the novel continues to resonate today.

Its appeal is a dark but undeniable one, enough to let you weep alongside Daisy as she marvels inside Gatsby’s closet at his exquisite shirts. The clothes, the alcohol, the music–we get it, it’s a heady and seductive mix. So go ahead and throw your Gatsby-themed party (skipping the murder and suicide–oops, spoiler alert) and let the experts at Folkways supply the playlist.

Thanks to David Horgan and Corey Blake of Smithsonian Folkways for the inspired lineup that includes three tracks referenced in the novel itself, including “Three O’clock in the Morning,” which narrator Nick Carraway calls a “neat, sad little waltz.” The novel also mentions “The Sheik of Araby” and “A Love Nest,” which, in some versions, includes the poignant lyric:

Ever comes the question old,
“Shall we build for pride? Or,
Shall brick and mortar hold
worth and love inside?”

Alex Trebek says, in many ways, his show represents ordinary people fulfilling the American dream—wit and skill bring success. All photos by Leah Binkovitz

Longtime host of “Jeopardy!” Alex Trebek, has often called game shows, “the best kind of reality television” for the way they encapsulate the American dream. On his show, he says, anyone can earn success with enough wit and skill. Now a donation from Trebek to the National Museum of American History of several items from his popular game show cements that idea in popular culture. In a new partnership with the National Academy of Television Arts and Sciences, the museum accepted a cache of items, representing three categories of the Daytime Entertainment Emmy Awards–daytime dramas, game shows and children’s programming.

Trebek, who was recognized with a Lifetime Achievement Daytime Emmy Award in 2011 as well as five Daytime Emmy awards, contributed a script with handwritten notes from one of his 1984 shows. Also making a donation was the 1999 Daytime Emmy Award-winner Susan Lucci, better known as Erica Kane from the popular soap opera “All My Children;” and 2001 award-winners Kathy and Phil Parker, creators of the 1990s children’s television program, “Barney & the Backyard Gang.” Lucci’s pink gown and shoes from her cover of People magazine played colorful companion to the plush purple dinosaur that was donated along with the script from the first “Barney” video.

“Game shows have been an important part of daytime television since the 1940s,” says curator Dwight Blocker Bowers, “when the radio series, ‘Truth or Consequences,’ made its debut as a television show.” The show selected ordinary citizens as contestants to answer trivia questions and to perform zany stunts. Over time, he says, the questions got tougher and the prizes, bigger.

Trebek, a naturalized U.S. citizen born in Canada, says his show gives people “opportunity.”

“All My Children’s” Lucci, who was a one-time contestant on one of the “Jeopardy!” celebrity episodes, says she was worried about  the challenging questions that might come her way. But, it wasn’t the questions that stumped her. “Once I got one of those buzzers in my hand and was on camera,” she says, “I realized that I had no buzzer technique at all.”

Lucci signs over the deed for the dress and shoes she wore on the cover of People magazine after her Emmy win.

From left to right: Bowers, Trebek and Parker stand in front of the table of donated items, which include Lucci’s dress, her pair of Manolo Blahnik heels, a ‘Jeopardy’ script with Trebek’s notes and a buzzer from the show, along with items from the “Barney” show.

We talked with Trebek at the donation ceremony:

Why has the show enjoyed so much success since its debut in 1964?

It’s a quality program and it appeals to the aspects of American life that are very important to us: opportunity, we give everyone an opportunity to compete even if you’re an ordinary citizen. It doesn’t matter what your background is, you can compete on our program and do well if you have knowledge. You can fulfill one of the American dreams, which is to make a lot of money. You’re not going to be elected president just because you appear on ‘Jeopardy.’ Although we’ve had ‘Jeopardy’ winners in the past who have done very well in the public arena. One of them is the current director of our consumer affairs department, nominated by President Obama. He was a ‘Jeopardy’ winner and in fact, when he first ran for Congress in Ohio, his bumper sticker said, ‘The answer is.’

We are now part of Americana so we’re accepted, people know us, they like us, we’re familiar, we’re part of the family.

If you were a contestant what would your biographical detail be?

I’m willing to try everything once. I’m just thinking back to sky-diving, scuba-diving, running military equipment, flying in a F-16 and taking 8Gs, parachuting, it doesn’t matter. I’m a little too old now to get out and do that stuff but there are a few things on my bucket list.

You’ve been hosting since 1984. Are we getting smart or dumber?

There are bright people in all walks in life and probably in the same percentage as there have always been. We’re attracting more of them so people think America is getting smarter, I don’t know about that.

But not dumber?

Some people are.

Smithsonian’s annual Garden Fest will be held in the Enid A. Haupt Garden on Tuesday. Come learn about composting and worm farming! Photo by Kevin H., courtesy of Flickr Creative Commons

Friday, May 10: Garden Fest

How do you relate to the earth? In the garden outside of Smithsonian’s Castle, three African artists each recently completed a land art installation to explore issues of land use, environmental sustainability, hunger and humanity’s role on the planet. The installations are part of Earth Matters: Land as Material and Metaphor in the Arts of Africa, a new exhibition at the African Art Museum. Today, in celebration of the exhibition, Smithsonian’s annual Garden Fest will encourage families to consider their place on Earth, too, with art, composting, plant potting, worm farming and more. Role up your sleeves and get your hands dirty! Free. 11 a.m. to 7 p.m. Enid A. Haupt Garden.

Saturday, May 11: Super Science Saturday: Astronomy

Think you’re a space expert? Seen everything the Air and Space Museum has to offer? Then take a trip out to the Air and Space Museum’s Steven F. Udvar-Hazy Center near Dulles Airport, where thousands of aviation and space artifacts that take up too much room to be exhibited on the Mall are on display. On the second Saturday of each month (that’s today!), the museum holds demonstrations and hands-on activities that teach visitors about aviation and space exploration. Today’s theme should whet the space enthusiast’s appetite: Astronomy. Free. 10 a.m. to 3 p.m. Air and Space Museum Udvar-Hazy Center.

Sunday, May 12: Mendelssohn Piano Trio: Mother’s Day Tribute

Treat mom to some fantastic classical tunes this afternoon, courtesy of the Mendelssohn Piano Trio. The group—violinist Peter Sirotin, pianist Ya-Ting Chang and cellist Fiona Thompson—has played for audiences around the world for more than 15 years, and today will perform music by some of the best female composers. A question-and-answer session will follow the performance. Free tickets available in the G Street lobby beginning 30 minutes before the performance. 3 p.m. to 4:30 pm. American Art Museum.

Also, check out our Visitors Guide App. Get the most out of your trip to Washington, D.C. and the National Mall with this selection of custom-built tours, based on your available time and passions. From the editors of Smithsonian magazine, the app is packed with handy navigational tools, maps, museum floor plans and museum information including ‘Greatest Hits’ for each Smithsonian museum.

For a complete listing of Smithsonian events and exhibitions visit the goSmithsonian Visitors Guide. Additional reporting by Michelle Strange.

Part of the portfolio for this year’s Lifetime Achievement award winner: Ross’s Landing Park and Plaza entrance bridge, Chattanooga, TN, 1992. Architecture: SITE (James Wines, Alison Sky, Michelle Stone, Joshua Weinstein). Engineers: Hensley-Schmidt. Construction: Soloff Construction Company. Photo: SITE

Recognizing everything from landscape architecture to fashion, the 2013 Cooper-Hewitt Design Awards recognize the best in design. Some names, like this year’s winner for Corporate and Institutional Achievement, TED, are familiar, while others may be new to most.

Within academic circles, for example, Michael Sorkin is a well-known architecture and planning critic and professional whose texts show up on college syllabuses across the country. His 2011 All Over the Map: Writing on Buildings and Cities takes on his own New York City, including the controversial Ground Zero Memorial and proves why his is a bold and valued voice in the field. For this and other works, Sorkin is being honored with the Design Mind award.

For the other honorees, we’ll let their posters, gardens, restaurants and clothing speak for themselves:

Landscape Architecture, Margie Ruddick

When asked to create a “winter garden” for the Bank of America Tower in New York City, Ruddick created this living sculpture. She says, “we created an immersive green environment that is designed to make you feel like you have stepped into the natural world of the city.”

Urban Garden for Durst Organization, Bank of America building, New York, NY, 2010. Landscape design: Margie Ruddick with WRT. Artist: Dorothy Ruddick. Design architecture: Cook + Fox Architects; Architect of record: Adamson. Fabricator: Mosaiculture Internationale de Montréal. Photo: Sam Oberlander

Communication Design, Paula Scher

Known for her rock ‘n’ roll aesthetic–she’s designed posters for Elvis Costello–Paula Scher is a clear voice in communication design. Her advice to aspiring designers? “Find out what the next thing is that you can push, that you can invent, that you can be ignorant about, that you can be arrogant about, that you can fail with, and that you can be a fool with. Because in the end, that’s how you grow.”

1995-1996 Season Poster for the Public Theater, New York, NY, 1995. Photo: Paula Scher/Pentagram

Interior Design, Aidlin Darling Design

Aidlin Darling’s design for this ultra-hip San Francisco bar and hangout got almost as much attention as the food. Generous with the wood, the design also employed billowing glass curtains.

Ductal concrete banquettes, Bar Agricole, San Francisco, CA, 2010. Photo: Matthew Millman

Architectural Design, Studio Gang Architects

Designed for the Lincoln Park Zoo in Chicago, this structure takes its inspiration from a tortoise shell. The archway was part of a larger boardwalk that transformed an urban pond into “an ecological habitat buzzing with life.”

Nature Boardwalk at Lincoln Park Zoo, Chicago, IL, 2010. Photo: Steve Hall/Hedrich Blessing

Fashion Design, Behnaz Sarafpour

Sarafpour began her career in New York in 1989 when she attended the Parsons School of Design. Since then, her work has found its way into special lines for Target and several museums, including the Victoria and Albert in London.

Dress in recycled antique embroidered linen with cherry pit buttons, spring 2011. Photo: Dan Lecca

Interaction Design, Local Projects

To gather the stories of a mining community for an area museum, Local Projects built a recording studio from ”a trailer clad entirely in copper…in homage to the single metal that the Southwest is famous for supplying.”

Miners’ Story Projects, nationwide, 2006. Photo: Local Projects

Product Design, NewDealDesign

Based in San Francisco, NewDealDesign combines graphic, interaction and industrial design to create products that also serve as solutions.

Lytro Light Field Camera, 2011. Photo: Mark Serr

Lifetime Achievement, James Wines

Wines has long integrated green design principles into his work, such as this Las Vegas Denny’s that also includes a wedding chapel.

Denny’s Flagship Diner, Neonopolis, Las Vegas, NV, 2012. Architecture: SITE (James Wines, Matthew Gindlesberger, Sara Stracey, Denise MC Lee). Fabrication: A. Zahner. Photo: SITE

The National Zoo’s two giant pandas don’t know how to mate with each other. But thanks to artificial insemination Mei Xiang (L) and Tian Tian (R) have produced two cubs, and a third may be on the way. Photo courtesy of the National Zoo

The National Zoo’s two giant pandas have little interest in each other 11 months of the year. Mei Xiang, 15, and Tian Tian, 16, are solitary creatures, happy to spend most of their days chowing down and napping. But March was mating season. For 30 to 45 days, pandas undergo behavioral and physical changes that prepare them for an annual 24- to 72-hour window in which females ovulate, the only time they can conceive.

Just because they are able to mate, though, doesn’t mean they will. Mei Xiang and Tian Tian are what David Wildt, head of the Center for Species Survival at the National Zoo, calls “behaviorally incompetent.”

“Tian Tian tries really hard, and is very diligent in his duties,” he says, “but he’s just not able to pull Mei Xiang into the proper mating position.”

The pair is not alone. Of pandas in the United States today, only two, Gao Gao and Bai Yun at the San Diego Zoo, have been able to breed naturally. Captive pairs have succeeded elsewhere in the world as well—especially in China, the bears’ native home, where the captive population is much higher—but mating difficulties are still common. Panda’s  total population, captive and wild, is about 2,000, so each failed match is a crucial missed opportunity for repopulation.

The species’ future is brighter than these mating difficulties suggest, though. Wildt is part of an international network of American and Chinese specialists—veterinarians, researchers and zookeepers—who have collaborated for years on improving captive panda breeding practices. In recent years, the team has made huge advances in understanding the bears’ biology and behavior, which has inspired new approaches to care that reduce faulty coupling, or even circumvent it.

Their studies are turning the tide. Today, the bears’ captive population is around 350, almost triple what it was 15 years ago.

When Mei Xiang began to ovulate on the last weekend of March, zookeepers closed the David M. Rubenstein Family Giant Panda Habitat to visitors, made sure she and Tian Tian were comfortable, then brought the lustful pair into the same room for the first time since last spring. The two had become rambunctious leading up to the encounter, and spent days staring longingly at one another through the fence that divides their yards. They had hardly touched their bamboo.

Despite the flirtatious fireworks, though—and while it was the seventh year in a row the two had been put together to mate—the two pandas again failed to copulate. As she has in the past, Mei Xiang flopped on her belly like a pancake when she met with Tian Tian—the opposite of good mating posture, which would have her rigid on all fours—and Tian Tian went about his usual routine of stomping around and standing on her, clueless what to do.

After multiple attempts, the keepers ushered the tired pair back to their separate yards.

Panda breeders’ challenge is overcoming unknown variables in the mating process, says Copper Aitken-Palmer, head vet at the Smithsonian Conservation Biology Institute. “There may be some developmental things that we are doing differently under human care, versus what they’re learning in the wild,” she says. Cubs often stay with their mothers for two or more years in the wild, for instance, so they might learn how to breed by watching or listening. Adults may need to mate with an experienced partner first to learn what to do. It’s hard to know for sure, Aitken-Palmer explains, because wild pandas are incredibly hard to observe in their bamboo-filled habitat in China’s southwestern mountains.

The zoo feeds Tian Tian up to 100 pounds of bamboo each day. Photo courtesy of the National Zoo

The National Zoo compensates for its lack of other pandas to mimic these conditions by preparing Mei Xiang and Tian Tian year-round for mating, both the act itself and the steps leading up to and following it. Since Mei Xiang arrived, she has been trained to receive injections, get blood drawn, milk and lie peacefully during ultrasounds, all without a fuss. (She even rubs the ultrasound gel over herself for her keepers.) The Zoo is trying to teach her to pancake onto a raised platform instead of the ground to make herself more accessible to Tian Tian, and also gives Tian Tian strengthening exercises so one day he might learn to pull her upright.

In China, zoos and breeding centers with a greater number of pandas use similar techniques to encourage coupling, and have begun to test the theory that pandas learn from observation by having cubs attend breeding sessions. On rare occasions, some Asian breeding centers have gone so far as to show their bears videos of other pandas mating—yep, panda porn. There’s no concrete evidence it works, though.

(Josh Groban has his own panda mating technique, but its success also hasn’t been confirmed.)

More than behavioral changes, the most significant improvements in breeding techniques have come at the chemical level. Researchers have developed increasingly accurate measurements of female pandas’ hormone levels and vaginal cell changes, and now are able to pinpoint the exact ideal time frame for a panda’s egg to be fertilized. This new-found accuracy not only dictates the best window to put two pandas together in the same room, but also dramatically improves the success of the practice that allows pairs who cannot figure out how to mate to have cubs anyways: artificial insemination.

“Because pandas’ reproductive activity is so infrequent, they don’t have many opportunities for sexual experimentation and figuring it out,” Wildt says. A panda in heat in the wild may mate with a number of males all competing for her, but those in America’s zoos are stuck with the one they’ve got, regardless of sexual compatibility. Artificial insemination is key to panda breeding, he explains, because it has allowed scientists to overstep the hurdle of sexual compatibility entirely. The technique, which deposits collected semen into a female while she is anesthetized, was “very rudimentary” in the early 2000s, in his words, but took off about seven years ago when scientists began to develop effective ways to freeze and store semen for multiple years and craft more precise tools, like tiny catheters that sneak through a female panda’s cervix to place sperm directly into her uterus.

So far in America, six panda cubs have been produced by artificial insemination, including two from Mei Xiang. That’s one more than the number of the country’s naturally conceived cubs—and as Wildt points out, those cubs all come from the same super-compatible couple in San Diego. (No exact data is available for China’s natural vs. artificial breeding stats, Wildt says, because its zoos often follow successful natural mating sessions with artificial inseminations the next day to improve the chances of fertilization.)

Artificial insemination is particularly valuable for America’s pandas, along with all others outside of China’s well-populated breeding centers, because it has the potential to increase genetic diversity, which is essential for maintaining the captive population’s health as it expands. Mei Xiang has been artificially inseminated every year she has failed to mate with Tian Tian since 2005. This year, for the first time, she was inseminated with semen from two males, first with a fresh-frozen combination of Tian Tian’s sperm, and 12 hours later with some of Gao Gao’s semen stirred in as well, shipped frozen from San Diego. “Artificial insemination gives us the opportunity to mix things up in the absence of multiple males,” Aitken-Palmer says.

To strengthen Tian Tian for mating, the National Zoo keeps him active by putting treats around his yard for him to find. Photo courtesy of the National Zoo

According to Wildt, the National Zoo will continue to focus on artificial insemination for the foreseeable future. But natural breeding is the ultimate goal for the species, once zoos and breeding centers have large enough panda populations to depend on it, he says. The numbers are headed in the right direction; the bears are back to “self-sustaining,” which means no more giant pandas have to be brought into captivity, and scientists will have them under their care for at least the next 100 years. The Chinese are even beginning to reintroduce pandas into the wild (although with some difficulty).

“It’s really a great success story,” says Aitken-Palmer. “There aren’t many endangered animals we’ve been able to do this with.”

Now, everyone is waiting on Mei Xiang to add to the species’ growing numbers. Her first cub, Tai Shan, came in 2005, and the second, born last summer after years of disappointment, died from underdeveloped lungs after just six days. Another successful birth would help to heal the wounds of last year’s tragedy, says Juan Rodriguez, one of the National Zoo’s panda keepers.

It also would give Mei Xiang and Tian Tian’s Chinese owners a good reason to keep the pair together at the zoo instead of considering a different match, which has been an ongoing discussion.

Bandie Smith, the Zoo’s giant panda curator, says not to hold your breath for news on Mei Xiang’s pregnancy anytime soon. The staff might not know if Mei Xiang is pregnant until a cub pops out. Females build nests and cradle objects each year whether they are pregnant or not (the latter is called a “pseudo-pregnancy”), and the fetuses are so small that they often escape detection in ultrasounds. Pandas experience a phenomenon called delayed implantation, too, in which a fertilized egg floats around for a number of weeks—usually between 90 and 160 days—before implanting in the female’s uterus and beginning a short 40- to 50-day gestation period.

All this means that no one has a very exact idea of when a new cub would arrive—somewhere around mid-August, Smith says.

“Breeding pandas is a very protracted process, and it’s never a guarantee. That’s the frustrating part,” says Rodriguez. “The cool part is that you’re among people who are trying to keep a critically endangered species on the planet. If we can ensure their continuous path to recovery, then our great grandchildren could actually experience pandas in their natural habitat. You can’t beat that.”

Mei Xiang plays in the snow! Photo courtesy of the National Zoo

One cub surveys the course ahead. All photos by Leah Binkovitz

Andean bear cubs, Curt and Nicole, played in the rain for the first time in their new outdoor home. Before making their public debut Saturday May 11, the cubs got to know their space on a rainy Tuesday morning. Under the watchful eye of mother Billie Jean, the two cubs, born last December, took to the rocky walls and steep climbs. Staffer Craig Saffoe says this species has a particular fancy for heights and a flair for daring acrobatics that can sometimes leave visitors breathless.

“But I’ve never seen them fall,” says Saffoe. Curt and Nicole both took a few small tumbles as they tried out their mountaineering skills, but they seemed to be in good spirits bounding about the grass, tackling each other. Billie Jean was a bit less enthusiastic but still attentive.

The cubs were a big victory for the Zoo. Since 2005, only three litters of Andean bear cubs have survived longer than a week, two born to Billie Jean, and the mortality rate of Andean bear cubs in their first year is around 40 percent, according to the Zoo.

Saffoe says the cubs will likely come out around 10 each morning to play, but, just like kids at a park, he says, when the cubs start to crash, they’ll head back inside. The cubs first explored the enclosure in March after Billie Jean finally allowed them to leave the den. The Zoo staff then began baby-proofing the yard with extra hay bedding.

The cubs will make their debut just in time for Mother’s Day.

The two siblings had a bit of a competition going to see who could get up the tree first.

Not camera or crowd shy.

Saffoe says this mountain species loves to move.

The perfect paws for playing.

Getting in shape for the weekend rush.

Perfect for climbing and snacking.

Mom was on hand whenever the cubs needed to check in.

Just hanging out.

Family portrait.

Curious cubs.

Log vs. Bear

Home sweet home.

Sibling rivalry.

Out for a climb.

Hand to hand, paw to paw.