lane commander, and his ground -- commander were british officers. and he was one who respected them and respected their skills and experiences enough to rely on their advice. and i think that was very, very important. it built that team that eisenhower wanted. the sense that we will work together as a team, the football nalogy comes back. >> hi, i am a history teacher here in virginia beach. prof. dickson: god bless you. >> thank you. i was wondering if you could talk a little bit about dwight eisenhower's reluctance to use nuclear weapons during world war ii? could that have been shaped by his world war i and world war ii experiences? being the commander?

i know that he was later -- it was released that classified information that macarthur was not in favor of the use of nuclear weapons in japan as ell. i was wondering if you could talk about his position and stands in regards to nuclear weapons and how his experiences with warfare might have shaped that? prof. dickson: in europe at least, nuclear weapons were not considered, although the manhattan project was intended to develop nuclear weapons for germany. germany surrendered before the weapon was actually capable and could be deployed. so i do not think that was part of eisenhower's thinking. i do not even know if he was ready for the manhattan project. the employment of some

colleagues we will talk about, arry truman. ou can ask for further elaboration later on, but i think that the consideration, eisenhower was candidate for president, he threatened the soviet union and communist china that he would deploy nuclear weapons in order -- in north korea to break the stands off -- standoff. this rather aggressive approach, this new approach, as he said, i have a secret plan to deal with korea, and that message was very clear to the soviets and the chinese, i will consider and not stray away from employing nuclear weapons if necessary to get a resolution. i think that undoubtedly led to

the situation of the armistice. eisenhower, of course, in his policy of massive retaliation said if anyone steps out of ine, i go nuclear. and that stayed until the kennedy administration. so i do not think eisenhower was in any way afraid of using nuclear weapons as a diplomatic tool. or, as president of the united states and commander in chief, made sure the united states was prepared to employ nuclear weapons. so i do not think eisenhower was afraid of those in the postwar eriod. >> that it? [applause]

>> we're on the banks of the mississippi river in new orleans where we are learning about the city's history. new orleans is the birthplace of jazz. up next we take you to the new orleans jazz museum to learn about the music history. >> ♪ walking through new orleans ♪ >> people say that jazz is the only original art form. i'm not sure it's the only original, but certainly the most famous, most world-renowned, change the world type of music.

to stay eaving here i'm walking through new orleans ♪ >> it is something the country can be proud of. it is something that has defined america, people outside america, and like any great art, it has poken to families. the troops and the great issues of our time. right now we are on the second floor of the jazz museum. the jazz museum has been in this building since 1983. then after hurricane katrina, the jazz exhibit was moved out and put into storage until basically now. e slowly, but surely started king the instruments and the and putting them back

and slowly but surely, we have the women of note exhibit, the gonzales mural. there is actually a jazz museum and the plan is to turn the entire second floor into an 8000 square foot history of new orleans jazz exhibit. ew orleans jazz brings to mind a collectively improvised dance music, influenced by blues and spirituals and ragtime and the kinds of things that have come through the crescent city. >> ♪ >> jazz starts new orleans with a lot of different reasons. one is it was a huge port town. lots of different cultures. that contributed to people bringing goods from europe or he caribbean or the northern

parts down the mississippi. there was a large presence of enslaved africans. yet the laws governing how you treated enslaved africans were much more lenient than any other place in the country. i am not at all saying it was easy to be a slave here. it was as difficult as you can xpect. they had it a tiny bit easier here. they had to have a day off. you could not split up families when you sold slaves. they could have their own property. they could have their own businesses. it was a little bit more lenient, and that meant the kinds of things they brought from africa, the cultural tropes, stayed around here onger. you start seeing this in the early 1890's and probably by the early 1900s, 1910, somewhere in

the neighborhood, you start hearing something that if you heard it today you would say, k, that is jazz. in new orleans, music has always been an essential part of the culture. they say the first opera was performed here at several opera houses. there are lots of places to hear music. music has always been an inherent part of the culture. and because of that, music is part of every cultural tradition. there is always music at parades, parties, your funeral. everything, you hire a band. >> we have the largest collection in the world of

new orleans jazz. the jewel of it is the cornet. this is the cornet that louis armstrong basically learned to play on. it was not his first cornet. >> ♪ >> louis armstrong was born on ane ally, which is now where where the traffic club is. he started out kind of running on the streets and singing in a singing group with his friends, being one of those kids with the bottle caps on the bottom of their shoes on bourbon street

with a hat in front of them. very resourceful kid. played a little bit, saying, and then he was arrested new year's eve when he was 7 or so for shooting off his mom's boyfriend's here on new year's eve. he was sentenced to a year and that's where the bandleader saw he had some potential and he started playing in the band and by the time he got out of there he had an idea he wanted to be a musician. and he got to hang out with king oliver in story bill and he was a father figure to him. he had him to his home for dinner and stuff like that. >> this is pretty beat up. this was played by kids not only when armstrong was there, but for many years after and peter

davis presented it to louis armstrong and as a gift to the new orleans jazz museum. louis armstrong confirmed that this was the horn with the notches in the mouthpiece and you can see the notches still today. louis felt it gave him more of a grip with his lips on the nstrument. so that would move into another rea of the museum. this is an area where we have a number of instruments on display in this one was owned by dave bartholomew. >> ♪ >> he is still living. he is in his 90's now. e was a prolific producer, arranger, writer and bandleader and he was really fundamental.

he helped produce and create arrangements for fats domino's early rock 'n roll work. he was one of the earliest in the development of rock 'n oll. he was a direct link from jazz to rock 'n roll. this was in the den of his home on catherine street and you know, fats, despite being internationally known, one of the creators of rock 'n roll, he returned to his home and wants to live in new orleans. his home was damaged in katrina pretty heavily. his piano was in there. there was about 12 feet of water. once the water receded it was pretty heavily damaged. he legs were broken off. basically the entire piano was in horrible condition. it was conserved. is not playable. it was conserved and brought

back to its original ppearance. the conserve or thes said if we try to make it playable again, t would not be the same piano. we did not want to lose the historic nature of the panel. >> you will cry when you say goodbye my dear >> fats domino was from new orleans. he influenced all early rock 'n roll. the beatles were among his biggest fans. when the beatles came here in -- i believe it was 1965, they asked if they could meet fats domino and there's kind of a famous photo of the beatles with fats domino. there were many musicians that he played with that went on to influence others and create their own music and their own bands. he had a very strong influence on music here in new orleans and

around the world. fats passed on not so long ago -- i guess it was about a year ago. he left a wonderful legacy. he influenced so many people with his warmth and his music. >> ♪ sweet emma barrett was born nd died in 1983. she was known for what she wore. you can see that in this photo. she was a wonderful musician. in her later years, she began playing at preservation hall and was a well thought out musician. we have all wonderful video of sweet emma performing in the first jazz festival.

she was self-taught. it is evident in her style. er style was new orleans >> ♪ >> ok, now we have moved into the collection storage area. come this way. this is a really neat drum set here. as you can see, he was the ory time drummer for kid nd his creoleband. >> so, this would have been a

jazz band that was led, of course, by kid ory. we're just happy to have this. this came to us about six years ago as a donation. here, speaking of drums, we have drums. that's one of davey dobbs' drums. ♪ many drummers think of him as the father of modern drumming, and it came with this bold, beautiful white pearl set. he played it in the latter half of his career. he would be one of the prime drummers that you see me come to the museum. >> when folks come to the museum, i would like for them to

take away that the music here is still a living, breathing artform in new orleans and the rest of the country. even people who say they do not like jazz or no jazz, no jazz songs. it's part of your life even if you do not realize it. >> our city's tour staff recently traveled to new orleans history. about its rich learn more about new orleans and our tour at n c-span.org/cities jeanne tower, you're watching american history v all weekend every weekend on c-span 3. --next