but taxes have risen more than 70%. the time is now for strong leadersh leadership. reagan for president. >> you see in the changes of political advertisements over time not just changes in political approaches, which actually have pretty continuous patterns, but you also see changes in the culture that is used to kind of capture people's attention. the old i like ike jingles. we have one that features a lounge singer singing a song. quite a few of the old jingle ads that are kind of long and wouldn't hold people's attention today but were very popular at the time. ♪ a man who knows what to do when he gets to be the prez ♪ ♪ i love the gov, the governor of illinois ♪ ♪ he is the gov that brings the dove of peace and joy ♪ ♪ when illinois the gop

double-cross ♪ ♪ he is the one who told all the crooks get lost ♪ ♪ adlai, love you madly ♪ and what you did for your own great state ♪ ♪ you're gonna do for the rest of the 48 ♪ ♪ didn't know much about him before he came ♪ ♪ but now my heart's a ballot that bears his name ♪ ♪ because i listened to what he had to say ♪ ♪ i know that on election day ♪ we're gonna choose the gov that we love ♪ ♪ he is the gov nobody can shove ♪ ♪ we'll make the gov the president of the u ♪ ♪ the he and the usa >> current ads. rick santorum, for example, did a pop-up video style ad in the nature of vh1.

so you can kind of see reflections of american culture being used to promote various candidates. youtube and other video internet distribution sites have been instrumental, actually, in changing how we capture ads. before when we would capture ads we were kind of dependent on what people would donate. so we might not get a complete run of ads, for example, one political party might donate their materials in a given year and the other one wouldn't. and now we can get a much more complete set of videos because we can go out and capture that material ourselves rather than being dependent on donations from campaigns or television stations when they're done with material. that being said, we would still like to get donations of material from the original source because it's generally higher quality. i think the value of the collection in one or two political ads, anyone can get those these days on the internet or record them off your tv if

you've still got the older recording devices or new tivo. but when you have an ad, a number of ads like this, 95,000 together, you really get a sense of the depth and breadth of information that's being presented by the candidates. and i think that i'd like visitors to get an appreciation for our collection in that sense. all weekend long, american history tv joins our cox communications cable partners in oklahoma city to showcase its history and literary culture. settled in 1889, oklahoma city is the largest city in oklahoma. it has a population of about 600,000 people and is the sooner state's capital. you're watching american history tv on c-span 3. my name is matt reed. i'm the curator of american indian collections for the oklahoma historical society. and it is the storage area where

we house all of our artifacts that deal with oklahoma and its american indian history. this is a yankton bison hide tepee. there's not many in the world. this one left the tribe in 1865 and was collected by a colonel william clark. he got the tepee because he was stationed, or posted to fort rice in dakota territory. this is during the american civil war. his volunteers were basically sent there to build roads and infrastructure around the post and to improve the post, fort rice itself. and while they were there they had a fairly amicable relationship with the yankton that lived in the area. and he had the opportunity a couple times to go out on buffalo hunts with them.

and during one of those hunts he had an accident and that's how it's described in our records. and before he was mustered out of service at the end of the war and sent home he had found out that there ways yankton family that had depicted his accident on their tepee, and so he went and obtained the tepee from the family to take back home with him. and so over here on the back side of the tepee is colonel clark, who's been knocked off of his horse by a buffalo that's running away. so this is the whole story of colonel clark and his accident. the people that are depicted on here, either the clothing that they're wearing, the color of the horse, the shield design, is something that it's very specific to a person. and a lot of times if you know who's being depicted you can look at a photograph of them and

you're actually able to see, okay, the guy in the photograph is the guy in this pictograph. so over here on this side is a man by the name of matonampa, which is two bears. and this is the man that -- on the tepee. that basically matches up a photograph that was taken of him in 1872 by alexander gardner. >> how about these images drawn on the tepee? >> there's varying methods. the one that you're looking at right there was probably actually done with ink. now, the pigments could be anything from artist pigments that were traded to the tribe or mineral pigments that were made by tribal members, you know, in the area. some of the black is ash. the red, however, is not

vermilion. vermilion that was traded at the time is a mercury oxide and we tested this red to see if it had mercury in it because it's a toxin. and it's not. even though it's a very brilliant color, it's not vermilion. >> what is the material that the tepee is made out of? >> this is a bison hide tepee. there's 14 hides on here. it's all sinew-sewn. some of the splotchy areas like you see here is from conversation that was done to the tepee in the early 1980s. this is actually commercial tin deer hide that's been made to adhere for loss and then kind of distressed to blend into the original hide. so it's a little rough for wear, but considering it may have been made as early as 1855 originally it's in pretty good shape for

something that old. we actually have three tepees. one of them is just pretty much plain. it doesn't have anything on it. it was just somebody's house. the other one is -- i believe it's this cabinet. is very significant to the kiowa nation. it has a tradition that dates back to 1833 with the tribe. this tepee, you can see some of the paint on here, this is 23fad from use, but you have yellow stripes and alternating black stripes on one half of the tepee. and then if you can see, we're looking at the interior of the tepee, these designs here as the other half of the tepee is covered with pictographs, pretty much like what we were seeing on the bison hide except this is kiowa. this tepee has -- is called the tepee with battle pictures by

the kiowa. it was pretty much handed down in one family by the time it came to the tribe, the initial design came to the tribe about 1835, 1840. and it would be -- now, those early tepees were buffalo hide just like the one we looked at. and it would be renewed every so often as one wore out, they would make a new one. and each time they did the man of -- the head of the family would invite his friends and fellow warriors in the tribe to come and depict something significant from their own personal history to put it onto the tepee. so this goes on and on and on and on. and the tepee we're looking at was actually made in 1916. and a little community called redstone that's southwest of anadarko, oklahoma. the rights to this tepee were

owned by a kiowa man named oltoint, which in english he's always called charlie buffalo. he was the brother to a kiowa man named silverhorn. silverhorn figures prominently in the history of indian art. he's kind of like the grandfather of all indian art. hunguwa and altoint had a nephew that they invited him to depict some of the history of the older members of the tribe. and so because he had artistic talent, he came and he put drawings on this. and his name was steven mopope. now, steven mopope, he was 16 at the time. when he grows up, he goes to the university of oklahoma, takes art classes there, and becomes one of the kiowa five, which is very famous in american indian art. they have paintings in

washington, d.c. at the n.a.m.i. here the cowboy hall of fame. the list of institutions where they have paintings would be hard to read out. this tepee pretty much everyone thought that it was destroyed in a house fire in 1924 or 1925, and it has as far as the world nur, never -- it ceased to exist. so it was really kind of a surprise when i found this tepee about two years ago in our collections. a friend of mine who's kiowa asked if we had any new artifacts that had come into the museum he hadn't seen. and i say, well, i come across where we're supposed to have this tepee in the collections but i had no idea what it looked like because i never had enough room to unload it. we're standing in a big room, and i pretty much had to clear this room. and i unrolled it, and as i'm unrolling it i couldn't believe what i was seeing.

because i'd actually become familiar with this tepee by looking at stylills from a sile movie that the historical society discovered maybe five or six years ago. and this tepee actually figures into a silent film. it's got all -- mostly kiowa with some comanche cast members, but all indian cast. and i had seen it in that film. and so i could not believe that i was looking at the same thing. and it actually took me three days of me looking at stills from the film and then looking at what was on the floor to convince myself that yes, i am seeing what i'm seeing. and then once i did, the first people that i actually told about it were the descendants of the family that made this tepee. and like i said, they thought it had been long gone so, they were ecstatic.

it's almost like it's too good to be true. the silent film had been rumored for years that this existed. and there were photographs from it that nobody knew where the film was. and through a series of events o.h.s. was offered the film was an artifact that we had to purchase it. and we finally raised enough funds, we purchased it, we raised more funds and preserved it. but then to turn it right around over several years and to actually find not only a piece of material culture that was in the film but something that's significant to the kiowa nation as this tepee. and to put it all together is just unimaginable. and hopefully, here in about a year, we'll have an exhibit that will feature this and that family and artistic tradition. over here in another cabinet are some other significant

artifacts, not only to indian history but to american history. this letter and then this friendship certificate were carried by lewis and clark when they traveled up the missouri. and the first tribe that they encountered or met were the okto missouri nation, just a little bit north of present day omaha. thomas jefferson, his signature here. he wrote this out. or maybe his secretary did. but it's written in french because the oto and the missouri both had several hundred years of contact with french traders by the time the united states came along. so there were people in the tribe that could read french extremely fluently. speak it, read it, whatever. so the letters that he sent out, he sent them in that language because it was pretty much a universal language at the time.

the otos and the missouris were kind of a small tribe in that they had a lot of he enemies and so they were always looking for allies and resources. so when they came along, lewis and clark saw this as them notifying that the united states now owns this territory and you're under our control or whatever. the otos saw that as a very important and potentially powerful ally against their enemies. so this was important to them. and that's probably why they kept it. lewis and clark, they met with several oto leaders at that time. one was big ax and one was big horse. now, this is the certificate of friendship that was given to big ax. and you can see his name right here.

>> what does this say? >> it basically just says that the man named big ax is a friend of the nation of the united states. and anybody that sees this certificate should acknowledge that, take it into consideration. >> how many of these exist today? >> i have heard that there is one other one, but i have no earthly idea what institution owns it. they were delivering these to every tribe, or they were supposed to deliver them to every tribe they ran into on their way to the pacific. now, i don't know if they actually were able to give out that many certificates. if they did, it's even more phenomenal that this is the only one perhaps that's left. i see the importance of collecting these things and trying to care and maintain them to illustrate that, you know, there's a long, long history here in this area and with

tribes that dates back to even before the beginning of the united states. a lot of times folks forget that when you're talking about tribes you're essentially talking about a nation unto itself. you know, we had our own governments, our own nations, our own customs, our own religion. and a lot of that was eradicated, or they tried to eradicate it. i guess in one way it's a way of demonstrating our perseverance. especially in oklahoma it becomes a way of demonstrating that oklahoma history started before 1889 with the land run. stay tuned all weekend long as american history tv features oklahoma city, oklahoma. learn more about oklahoma city and c-span's local content vehicles at cspan.org/localcontent. next month we'll feature wichita, kansas.

you're watching american history tv all weekend every weekend on c-span 3. the civil war battle of shiloh took place april 6th and 7th, 1862 in harden county, tennessee and resulted in a union victory over confederate forces. we visited shiloh military park where stacy allen, the park's chief ranger, talked about some of the artifacts on display in the visitors center including battle flags, arms and munitions and personal effects from soldiers who fought in the battle. he also took us behind the scenes to the park's storage facility, where he showed us two rare civil war tents. >> we're here at the park visitor's center. guess you could refer to it as the shiloh battlefield visitor's center. we're taking a look at a collection of objects we have on exhibit here and display for the public to give them a taste and a feel for the period. our museum collection here inside the center is object

orie oriented. we have battle flags. what's unique about this flag is it carries the pittsburgh landing battle honor that was the official name recorded by union forces for the battle of shiloh. united states forces had a tendency to name their battles after geographic land points. in this case the landing being the primary feature here. officially, the battle went in as battle of pittsburgh landing. newspaper accounts would talk about the battle of pittsburgh landing. confederates referred to it as the battle of shiloh. that shiloh name, biblical in its connotation, meaning place of peace or house of peace, took dominance and predominance over the identity of the conflict through time. and so it's interesting to see a battle honor for a pittsburg landing on these flags. this was in the possession of lucius d. woodruff of the 21st missouri infantry.

a unit that participated in the battle with prentiss's division and fought at hornet's nest. flags underwent renovation. you can see the dark fabric backed by the lighter fabric to fill out what's missing on the flag. same is true for the white stripes as well, where you can see that the flag was in tatters. these fabrics, of course, ravages of time, storage, light, moisture, you name it, it's amazing that things like this do survive even if they're stored away in an attic somewhere, usually they go through some major deterioration over time if they don't have proper treatment and care. people are always fascinated by the unique star configure augss on the flags.

because there's no standardization to them. many of them were sewn by ladies in the communities in which these organizations were raised and thus the flag would be presented to them, to the units, as they marched off to war. a thing of honor to be carried and cherished. and so a little bit of the artist's freedom to alter configuration of the star patterns in particular. this other large u.s. flag is a battle relic. apparently captured by the 16th louisiana infantry. major daniel gober had this flag in his possession. the confederates report officially that they did seize one garrison flag amongst the many u.s. flags that they captured at shiloh, and then this flag would appear to be

large enough to have been a garrison flag. personally, i and other staff members believe that this flag probably flew over john a. mcdowell's brigade camp, possibly at his headquarters, which was part of sherman's division. the right flank front of sherman's division as it lay encamped around shiloh church. there's another union camp that they occupy that night for the north. one of the brigades of mclernn's division. it's a probability as well. but i think the highest probability the 16th entered was mcdowell's camp. they were there for some time. and i can see them taking this flag. and this was donated to the park years ago from descendants of major gober. it's in good shape. showing that it was well cared for and stored. even though apparently this had been buried at one time in the ground. that's the story. that's the family's story.

with a loved one for a while in a grave. i'm not sure. but it was recovered later. and that's how they claim that the standing occurred. it may have gotten wet underground. at that point in time. all the flags underwent major conservation treatment so they could be properly exhibited. the next flag is not a relic of the battle, having been a witness flag of the battle. this is an 1864 dalton pattern confederate flag adopted by the army of tennessee at that point in time and issued to the troops. it was in bad shape when it arrived here in a brown paper bag. a gentleman walked in, threw it down on the visitor center information desk, which just happened to be manned by the chief ranger at the time, george reeves. threw it down and said this thing's causing so much damage with my family, i'd just as soon be rid of it it's yours if you

want. mr. george said he almost fell over in the chair when he realized what he had in the brown paper bag. the flag was in tatters. again, just like the pittsburg landing flag, new material is backed. the historic material. so there's a differentiation of it and it completes the flag. and you can see if you come up and examine it real close that much of the flag was missing when it arrived here. it also can probably, contained in these missing quadrants, other battle honors that the 51st tennessee would have participated in. the one that seems to have survived is the shiloh honor. early in the history of shiloh in, say,he first 50 years or so, histiography of the battle there was a question if the 51st participated. they were at donaldson, part of the unit were captured, some escaped. they weren't formally

consolidated with 52nd until after the battle of shiloh, but they would not have been able to put a battle honor on the flag without being present -- we do know the flag has been rearranged some since probably its initial issue. that may have -- it's post-war. it's hard to tell. but the placement of the regimental identity and things is a little bit different than what is standard with these dalton pattern flags. but clearly a civil war witness flag. and again, one that has survived the test of time to come to shiloh and interpret the colorful part of the civil war, which was these battle flags being carried by these organizations, which were identity flags. in other words, you could look out over across the battlefield and identify the units. not only friend and foe but you could identify the respective

organizations. cannons are brought in basically because they each have some provenance, a story to tell. early in the war it's difficult to pinpoint specific guns on these battlefields. records were haphazardly kept early in the war. later in the war it's easy to take a particular gun and be able to link it to specific actions, campaigns and engagements. but we do have a piece here that is a shiloh veteran, did see service here. captured by the confederates from u.s. forces, retaken by those same u.s. forces on day two and then at the battle of richmond, kentucky confederates took this a second time. so it has a storied past of a gun trading hands more than once between opposing forces. we are quite lucky that we have a very diverse collection of field artillery on the

battlefield. a lot of different types of guns at shiloh you that don't see elsewhere. every gun currently on the battlefield, all the field artillery on the battlefield and the two siege guns were either made prior to or during the american civil war. so these are actual historical pieces from that time. they were in the united states arsenals when the national military park was established. and the commission and requisition, 250 cannon for the marking of the battlefield and for use in monuments as well. so we're lucky. we're lucky it's one of the first battlefield sites to be set aside. and that these artillery pieces were still housed in united states arsenals and available for marking the battlefield. a lot of people don't realize in the emergency of world war ii and the kneeled for a national effort to wage a global war, secretary of war, one of the

cannons off the battlefields across the country for the scrap drive. and luckily the secretary of the interior was made of stern stuff-h a few words for the secretary of the war, and managed to hold on to the cannon and promised that the national park service would provide the scrap that would be demanded of the agency for the drive. so when the exhibits were planned and being designed, the staff at that time and the park service people decided that these guns, which at one time were on the battlefield would be used to be a part of the exhibit. a lot of the items in the exhibit are donated items. they're general in nature in the sense that they don't have any provenance directly to shiloh. but they represent of course the kind of equipage, kind of weapons utilized in the war as well as personal items that may have been possessed by

individuals. now, much of the personal items we have on display are iconic to shiloh because a great deal of it were recovered with the exhumation of the national troops here beginning with 1866 to 1868 and remained in a collection at the national cemetery. it was transferred over to the national park service when the cemetery became part of the administration, park administration. so these items do have some provenance to shiloh, particularly the personal possession items, whereas the larger things such as belts and bayonets, scabbards, and haversacks are items donated to the park that might not have park provenance but do have civil war provenance. that's an item that's cropped up -- again, it's based on oral history tradition. apparently, general buell paid for bread on a m