seeing the history represented at this museum, can say to themselves, the struggles we are going through today are connected to the past, and yet, all that progress we have made tells me that i cannot and will not sink into despair because if we join hands, and if we do things right, if we maintain our dignity, and we continue to appeal to the better angels of this nation, progress will be made. [applause] i was telling michelle, many of you know i get 10 letters a day from constituents, and it is a great way for me to keep a pulse

on how folks, other than the pundits on cable tv, our thinking. [laughter] and i know it is a representative group because sometimes people say, mr. president, we love you and we especially love michelle. [laughter] and you are doing such a great job, and thank you. and then there are others who write and say, mr. president, you are an idiot, and you really this country. so i know i am getting a real sampling of american public opinion. last night as i was reading through my letters, i say about half of them, said, mr. president, why are you always against police? doing enought you

to deal with these rioters and the violence? said, mrs.er half with a black folks saying, mr. president, why you do something about the police? [laughter] and when are we going to get justice? that understand the nature argument -- the nature of that argument because this is a dialogue we have been having for 400 years. the fact of the matter is, is that one of the challenges we have in generating a aboutuctive discussion how to solve these problems is because what people see on television, and what they hear on the radio, is bereft of

context and ignores history. so people are just responding as none of what is represented in this museum never happened. and that is true for all of us, not just some of us. imagine children, white, black, latino, asian, native american, wandering through that museum and sitting at that lunch counter, and imagining what it would be like ,o stand on that auction block and then also looking at shaq's shoes. [laughter] red cadillacry's

-- [laughter] this complicated harrowingt, sometimes , but i believe ultimately, usumphant story will help talk to each other. and more important, listen to each other. and even more important, see each other. recognize the common humanity that makes america what it is. [applause]

that is a lot of weight to put on one institution. [laughter] i have takenand our mom and daughters to see it. it won'tonfident that just meet expectations, but far exceed them. and it would not have happened without all of you. so you should be very, very proud. congratulations! god bless you! [applause] [captions copyright national cable satellite corp. 2016] [captioning performed by the national captioning institute, which is responsible for its caption content and accuracy. visit ncicap.org]

>> now, a press preview of the smithsonian national museum of african american history and culture. we will hear remarks by founding director lonnie bunch and smithsonian institution's secretary david. this is about 25 minutes. [applause] >> good morning and welcome. my --what a crowd.

have youlighted to here and we have good reason to believe that when you spent time here, you will say that you have been delighted to be in this sacred place. you probably thought, we brought you here to work. i want you to drop that thought right now. we do not bring you here to work, we brought you here to be moved. and to show you the things that will move your readers and your listeners to be similarly moved. good morning again. i am from the offices of public affairs and media relations and have been delighted to have worked with you for so many years. facesso many familiar with people who have been with us since day one, even before day one, before we had a construction site, before we had ,early 40,000 collection items you have been with us on a magnificent journey, and we appreciate your company. our journey has been made much

of theoother because secretary of the smithsonian institution, a man with some extraordinary and unique gifts we come not to just admire, but to count on, his wisdom, his vision, his passion, his compassion, and it does not hurt that this man has a wicked sense of humor, and he plays a mean flute ine -- jazz saxophone. he is good. so please welcome the 13th secretary of the smithsonian institution, dr. james gordon. [applause] thank you. it is a pleasure to welcome so many journalists and writers and producers and photographers today.

when thisom this day, extraordinary museum is dedicated by president obama, i will country will have the opportunity to gain a fuller understanding of what it means to be an american. this museum explores our national identity through a particular lens, reflecting the life experiences over time of african-americans. ir stories illustrated through artifacts and works of art, through voices and writings, but do determination, through innovation and leadership, comprise an eloquent and powerful narrative, central to our national identity. idea to establish an institution devoted to african-american history was first suggested by black civil war veterans a century ago.

proposed aert hubert museum memorializing african-american contributions to history and science. but it had to await the 21st century before plans started to actually take shape. and in 2003, congress passed legislation to make the museum of reality as part of the smithsonian family. we are grateful to president obama and to congress for providing ongoing support, and for establishing the museum's council, which has offered guidance and encouragement over the months and years it took to get to this day. this landmark comes at a significant time in history for the smithsonian and for our country. advance thele us to increase in diffuse men of knowledge and more far-reaching

-- of knowledge in more far-reaching ways. the smithsonian is a uniquely american institution comprising 19 museums, established at key points in our 170 year history. the inauguration of our newest museum occurs as race and cultural differences dominate the national discourse. can be an ideal gathering place to learn, to hold conversations, to be inspired, and to be uplifted. the smithsonian can, and i believe should provide a form for discussions relevant to our mission, especially when these can shine a light on the history and culture of the public we serve. this is true of the national museum of african american history culture, and it is true of all of the other museums

research centers and education initiatives. museums of the 20 are dynamic learning institutions that use the exceptional power of art and ,rtifacts to evoke feelings teach, and energize people, and at a time of great cynicism and distrust of so many establishments, of the press, and even of government, libraries and abusing them remain among the most trusted sources of information in our country -- libraries and museums remain among the most trusted sources of information in our country. you can actually see people appear to change, especially young people, as they explore an exhibition and light up with a spark of record action. museums have the capacity to touch lives and transform the

way people see the world and interact with each other. andmuseums of than the sony are all working -- the museums of the smithsonian are working to share the treasures and thought-provoking and engaging member ofhe newest our family, the national museum of african american history and culture, is setting the bar even higher for the visitor experience across the smithsonian. opening now at a time when social and political discord remind us that racism is not unfortunately a thing of the past, this museum can, and i believe well, help advance the public conversation. was in 1863 when frederick douglass said, the relation between the white and colored people of this country is the great paramount imperative and all commanding question for this age and nation to solve. later, itand a half

is high time to honor the words of this statesman who began life as a slave. as its mission states, our nation's knows landmark was created to be a beacon that reminds us of what we were. what challenges we still face, and points us towards what we can become. design, extraordinary representing openness, strength, and hope, to its collection, to building the stands of the crossroads of the future, virtually all of the objects howled with in it were donated by people, eager to share parts of their own history with the public. it is the only one of our buildings, including the castle, constructed without a pre-existing collection. as you will soon see, the objects contained within these walls are as diverse as the

people associated with them. some, like the glass top coffin , may make you angry, or may move you to tears. berry's like chuck may lift your spirits. these artifacts and documents represent a country that is complicated and ever evolving. the many people who owned it, used, and gave us these objects emerged through them as do the artist who created the paintings, sculptures, and other works on display. is they that make this museum and reality, and on behalf of the smithsonian and the public we serve, we are deeply honored to and grateful for them. since the museum started to take shape, the enormous cost of the project became apparent.

half of the funding required to construct the building was provided through federal appropriation. the remainder needed to be raised from private sources and from the outset, the outpouring of financial support has been generous and moving. organizations of all kinds have joined in the effort for major corporations and foundations, to church groups and scout troops. the number of individual supporters is especially astonishing. there are people who wrote checks for $1 million or more, and those who contributed would ever they could from one dollar up. to date, more than 100,000 people have come aboard as members. this is a record for the smithsonian. and we are deeply grateful to each of them and all of those who recognized the importance of this museum, and its role in the life of the country. project work on this

seriously got underway with the appointment of a director, lonnie bunch. lonnie bunch is an esteemed educator and a scholar. and lonnie must have known the challenges ahead of creating a museum from stem to stern. but he did not blink. efforts11 years, he led to imagine, design, and construct this awe-inspiring building and developing interpretive plan for the museum, and leave -- and lead the campaign to find it. perhaps the most challenging task that money oversaw was creating the collection itself. an initiative that required a national awareness effort, considerable travel and research, and along the way, he put together an incredible staff , a group of talented, bold, smart museum professionals, who you will get to know beginning today. it is my honor to introduce the

person who did more than any other to make the national museum of african american history and culture in reality, it's founding director, lonnie bunch. thank you. [applause] mr. bunch: it is the first time i have seen people in here. this is pretty cool. david, thank you so much for your leadership, kind words. there is no way this could happen without the kind of leadership and richard have given us to make sure that we know that the smithsonian was with us every step of the way. so, thank you so much, david. it is hard for me to remember, but 11 years ago, we really did start this with a staff of two. no collections at all. we really had no idea exactly where the site of the museum would be.

knew we had to raise a lot of money, but we do not know where we would get that money from. all we knew was that we had a vision, a vision that what we wanted to help all who encountered the museum to remember, to remember the rich history of the african-american. the unvarnished truth. we felt it was crucial to craft a museum that would help america remember and confront, confront it tortured racial past. but we also thought, while america should ponder the pain of slavery and segregation, it also had to find the joy, the hope, the resilience, the spirituality that was in deming in this community. findsence, the goal was to the tension between moments of tears and moments of great joy. but we also knew that

remembering was not enough. we needed to craft the museum that would use the history and culture of the african-american to betteras a lens understand what it meant to be an american. the goal was to help all, regardless of race or ethnicity, to help all realize how profoundly affected we are as americans by the afghan american experience. in many ways, we discovered that the african-american experience is a quintessential american experience. it is the experience that helped us understand our notions of optimism, our notions of liberty, our notions of citizenship. we realized it is a story for us all, not just one community. that we were standing on the shoulders of other museums, large and small, african-american and not, who had done so much of the work that allowed us to make a

decision real. so we felt it was crucial that we had to be a place of collaboration. that we had to encourage visitors to come to washington, but then to go back and explore how culture is explored at the studio museum of harlem, or the california african-american museum, or the museum at chicago. it was crucial that we were part of a national network of museums that cared about the past. to tell you, i am so pleased to welcome you here today. museum on a it,onal mall, as we call america's front yard, this museum tries to fulfill the dreams of so many generations who believe that america would be made better if it understood, if it grappled with, if it immersed itself in the african-american experience.

and i am so pleased to welcome you to this signature building , a group thateam line and that the building was really in the mind of its gifted lead designer. could all the architects stand up right now. [applause] thank you. what i love about it is, this africa, is informed by but it is also shaped by the design of enslaved craft people who created so much of the beautiful iron work in charleston and new orleans. but it is important to remember that this building does not

simply look back, but rather, it looks to the future by being the first sustainable, legal building on the mall. the architects allowed us to do that. backis a place that looks and revels in the past, but is pointing us towards the future. and i am happy to invite you to explore the amazing exhibitions that take us to the history and culture of america through this lens. as a result of collaboration between gifted curators and scholars on our staff, and amazing design expertise supplied by ralph applebaum and designers. but i have to tell you, we are at this moment because of an amazing group of people. i cannot thank enough the council of this museum. these are people who for more than a decade, gave their time.

johnsons the colin powells. these are people who said this story is important enough that i will be here as long as you need. provide they did was amazing guidance, and they use their considerable influence to help us meet and exceed our fundraising goal. but they did more than that. they helped us believe that we could do this. there was a meeting i remember, when the economy was going bad in the fundraising was going and can look around the room and said, lonnie, don't worry, look at these people, we don't fail. they gave us that confidence, the time to make this work, and i will never forget that. and we are at that moment because it truly takes an

institution, the smithsonian institution, to birth a national museum. i cannot express how much we appreciate the support of the regions and the senior leadership because they made this endeavor possible. and again, leadership is the key, from secretary adams to secretary small, and now secretary -- the institution has never wavered in its support of this museum. it was and has been its number one priority. momentare also at this because of thousands of individuals and corporations and foundations, who suspended rules, who did -- who dug deeply into their pockets to get the museum the support, money, and collections that it needed to tell the story. i have to be honest, that is the most impressive part of this. that all of these people came together and said, we will give, whether it is money, or whether it is own story, to the

collection that will give you. what they made us realize is that the time was now for this museum. and we are at this moment because of the bipartisan support that we received in congress. i know bipartisan is not something you here in washington, but we received amazing support. to them the early days sponsorship of people, to the support of the current congressional leadership, this has really been an example of america at its best. of people of different races, different political points of to crafting together, something that they believe can make america better. and finally, i have to say that i need to acknowledge that we have one of the most gifted staff i have ever worked with. forgive the sports

analogy, this is like the 1961 yankees of the 1985 bears, these folks can play, and i will tell you, led by our deputy director -- stand up. [applause] few will ever know the sacrifices in the work they put in, but they will now because what they have done is something, youngest daughter described, once they finish the building, it means that this building will be available for the public to engage this history is long as there is an america. ultimately, this museum looks back, helps contextualize where we are, but hence at -- but hints at what he future can be an will help us find reconciliation and healing. we believe so strongly in the --ds that james waldman

james baldwin wrote -- the past is all that makes the present coherent. for us, this is an amazing moment, and i thank you so much for being with us. thank you. [applause] >> i am not seeing this, i am really not saying this, but yeah, that's good. [laughter] [applause] [laughter] c-span's american history tv interviewed key members of the design team responsible for the smithsonian national museum of african american history and culture. this is about 20 minutes.

>> i am david, the lead designer of the nest a museum of african american history and culture. i was the architect on the team that would deliver the vision, the material, the sequence, the feeling that you see when you come to the building. >> was feeling did you hope this is in what can they? >> a sense of uplift, and a sense of being connected. and give you a sense of intrigue. want to explore the ordinary exhibits. and one that would give you a fantastic overview at the end of the museum. at the top of the building, you have a ordinary panoramic window. you have an international background. can you tell us about that?

i am of ghanaian parents. i was born in the heart of the continent. i grew up in london. my practice has always had international outlook. we work all over the world. local committee projects, like schools and educational environments. housing, libraries, housing in new york. when you are asked to join this competition, it was an extraordinary moment that we were thrilled to be a part of, but we felt it was such a complicated project, we want to form a large team that would allow each of our expertise to deliver the best we could for such an important project. >> the perspective do you think your international background

and work has brought to this museum? toit has given us an ability deliver this story from a different context. it is emotional for me to, but not as emotional as families that have went through the slave trade. i think the struggles of the african-american community really reflect the aspirations of the entire black community around the world. --is something that we all it is a shared narrative. >> i understand the exterior design of the building was your inspiration. what if that come from? >> from understanding that the african-american community comes from the central and west of africa. in the central and west of africa, there is a extraordinary tradition of architecture that creates these incredible structures. i felt that it would be prudent a referenceo make

to that extraordinary tradition for that african americans who don't know about this tradition, understand that the place they came from had this incredible craft and tradition and that it is part of the narrative and history, too. it is an important reference and inspiration, but the work of afghan americans and craftsman -- the but the work of african americans and craftsman. incredible metalwork. we wanted to honor that incredible tradition of labor and crafts. you see this incredible which is about that language. of the evidence of exterior

plantation homes in the south? ,> you will see the ironwork sort of wrapping into grids of iron. it is a mapping using computer technology to describe the way in which the ornament is made. it is a drying about how ornamented is made represented on this building very -- on this building. explain -- >> we have reduced in scale. in the oprah winfrey theater, we want you to feel like you are in the heart of the building. it is framed by the mall. inside, you are the center and the building surrounds you. >> the porch element to the museum is a significant key. can you tell us why? >> we wanted on the south side

of the mall to create a real welcome. the welcome of the south that you feel. we thought it was a very important idea that we wanted. we worked with our engineers and landscape designers to create a water body, which basically creates incredible shade. you are able to come to the museum and come to the welcome of shade for you carry on your journey. are reallyg effect enhanced by the porch and water reflecting full. >> tell us about the water element in the symbolism behind it? >> it is a very important material for the kennedy. -- for the community.

labor in the south, irrigation and water was very much about the coastal nature of the south. water is something that the african-american community cannot move away from. martin luther king and his words expressed water being the justice. the justice of water, the cleansing spiritual element that is always been a part of the community. i was very inspired by those words and use that as part of the reflection in the building. -- when look at them you look in the memorial room, you can see that. >> we are sitting on the washington monument grounds. that is the significance of this particular site because it is kind of refer to as a knuckle position between the mall, washington monument, lincoln, jefferson. most probably one of the

critical points in the development of the washington monument grounds. in the end, i think it turned out well, and probably is the right place for this particular museum. particularly, at this time of our history. >> why do you think it is the right place? museum, i think this am hoping, once it does open, will be a healing element for this country, and maybe even the world. particularly at this time because of what we are going through as a nation, internationally as well. the struggles that are going on issues,races, ethnic and i am hoping missile be a real learning experience and education for the people who,

that we need see to heal ourselves, and we need to be more than just separate individuals, are separate people, we to be a people. >> there are a lot of white marble buildings of the mall. tell us about the design of the exterior of the museum. what does it mean? of all, i will back up to when we did the competition for this particular building, which we were fortunate enough to win our team. at that time, we actually had 60% of the building above ground. but we been through all of the review agencies here in town, which probably was more my role on this project because i am a washington local architect and have been working with the smithsonian for more than 35 years on some of their major

institutional buildings. i have been able to be in a position to work with most of all of those agencies during that period time. in that review process, it was 60% of thethat building would be above ground was too much for the washington monument grounds. and they asked us to reverse that, which we redesign and came up with the final design that you will see here today that has only 40% above ground and 60% belowground. competition, we had as part of the inspiration of the design, the idea of a corona, or a crown. an artistices from west african community.

on this floor, there is a column that was the inspiration for this. if you were to look at it, you will see a three-tiered crown sitting on top of that column. it is carved in wood, but that was the first inspiration for the corona for this particular building. belowground and put 40% above ground, it allowed us to put three levels back into the corona. i think it is good. the other portion that i think was inspirational in terms of maintaining the idea of the monument grounds coming all the way through is the entire base of the building is grounds. and that is to make sure that you feel like the washington monument grounds continues right through the building, and all the way over to the 14th constitution. these great pillars really

contain the structure and the core of the museum. everything else is supported from that. so when you look to the outside, and you see this wonderful corona and a structure that is there, it is basically coming off the top of the building through a vertical truass all te way down to the bottom. lad, the was then c corona panels, which are 3600. >> would you mean the corona panels? to theou were to look outside, each of those panels are three feet by five feet, and the design was inspired by wrou work done by slaves in charleston and new orleans. thate bunch had the idea if we took the panels that were ,one in that wrought iron

connected certain points, and came up with this modern innovation of that wrought iron panel. he's one of those has that same deal to it. and then they will back and forth. there is a different porosity depending on where you are in the building. if you look carefully, you you will see that some have more transparency than others. solid to 95% 65% solid. but where there is an opportunity of the view and feel a part of the context of the washington monument grounds and the surrounding areas, the mall, lincoln, the white house, jefferson memorial, capital at the other end, national archives, all of those are grounding points to establish the context of the museum. there is a visual connection that is made to each of those.

there is a window over here that looks to the white house. this one window is looking at the washington monument grounds, to give you the context of the worldn memorial, and also war ii memorial, and of course, the washington monument. and then as you move around, you will see various other viewpoints. >> you grew up in the segregated south. >> i grew up in memphis. i lived there until i went away to college actually. was in the time, i 1950's and 1960's, that there was a great deal of change. i grew up, went to school in segregated schools. -- i want to the department store, and as a young person, you are never afraid to ask questions of your parents, and i said, tell me, why is there a colored restroom?

why is it a white restroom? coloredthere signs for water fountains and a white water fountain? and i was just told, that is the way it is. but i said, but why? aren't we people with different colored skins? at i did not go to school that time within the african american, or much in the way of any other ethnic? that, of course has greatly changed much to my delight. i actually went to undergrad it --undergraduate school at clinton university. the reason i went there is that they were the first to admit an african-american student in architecture program who became the mayor of north carolina and charlotte. it is been a wonderful experience for me personally to see the change that has happened.

first worked with the native american community, we did the cultural resource center for the smithsonian, and then we did the national mall museum. over 12 years, you learn a lot about the culture that is different from yours. i am hoping that that will be the case and people come to this museum. we have all learned definitely something different by being involved in this museum. and i am hoping it will have the same change affect on the people who visit it. >> robert anderson, where are we standing? feet below grade and the african american history and culture museum in history gallery. >> what is the history gallery? 50,000s a collection of square-foot galleries on three different levels within the museum. feet toxcavated down 75 get to the lowest within a museum, so what you are seeing is a chronological sequence of

galleries that basically tell the story of african-american history from middle passage all the way up through modern times as you ascend upwards through the building. >> what design elements will visitors find here? in theink a lot of it lower spaces there, one of the things you will notice is how the space is standing and contracting inside the levels. the ceilings are 9.5 feet, so you get an intimate relationship with the casework pieces that you see in the lower levels, where as if you step in the main chamber, you are anything a 65 foot roof. there is an interesting dichotomy of space within the history gallery. >> your company is part of the design team was involved in the construction. tell us a little bit about the chronology that brings you here today? >> our firm, along with the fremont group at a north carolina, by the time the museum

opens next week, we will have worked on the project for close to 10 years? max, the dean of african-american architects, and are late partner who passed away hadng the competition, they authored the pre-design and programming studies two years prior to when the competition was announced. project -- the competition phase was about a year 2008. the fremontong with group and the smiths group, came up with this scheme that one through the competition. 50% you see here today is of the building is below grade. one of the things you'll notice is a relationship is inverted to complete the city block. as we start to study the options of the building, we found it had a much more intimate

relationship with the monument grounds of pushing more the program below grade. history galleries do not want natural light. it is a really interesting relationship top to bottom. >> you heard lonnie bunch talking about the museum being america's front yard. mind, what was behind your conception of the history galleries, and how it connects, not only to the mall, but to the exterior design of the building? >> the main thing that you see is the atrium. the reason that is positioned on the north side of the building as we can physically except light. it is nice to see the light wash into the chamber as you move lower and lower and going further and further back in time. i think that is one of the unique sequences through the building is this ascension into the light and the story of the museum follows that. >> tell us about the symbolism

that we see here in these galleries, and behind the narratives that are told. >> the narratives will have to give credit to round up a bomb and associates -- ralph applebaum and associates. andescribes the volumes some of the more interesting pieces that you see like a segregated railcar. t.had been cataloged it that are certain pieces had to go into the building that was very critical to the completion of the project. belowou figure 60% is grade, it was a real race getting it to ground level. >> what you hope visitors will take away from this history gallery? >> you know, because this question a lot.

to the 9/11parison museum which our firm designed in new york city. i think the thing this museum benefits from his advantage of time. an 11 museum is a store that has been told over 15 years, where we have centuries to discuss here. i think it is a very good barometer of how we are doing as a society. >> there is a snapshot of that history behind you. telephone little bit about the choice for this design element as visitors enter the history gallery. >> what you are seeing here is a synopsis top to bottom. an introduction of what you will see walking through the history gallery. today, the smithsonian national museum of african american history and culture opens its doors to the public. c-span will be live from the national mall with the 10:00 a.m. dedication ceremony.

speakers include president obama and founding museum director, lonnie bunch. here is california representative barbara lee talking about the significance of the museum to her in the country. >> congressman lee, can you tell us what the significance of this african-american history museum is to the country? >> this is really quite an exciting moment for the country. many important milestones. this museum is commemorating. it is important for the country to understand the history of african americans in the united states, and understanding the little -- understanding the thele passage in africa, history of slavery, the history

of jim crow, the history of segregation, the history of institutional racism, all of the struggles that african-americans , who have built this country, are here now today. it is remarkable that the entire country will be able to understand the history, so we can become more unified and will and equalityeedom and justice for all. it will help in terms of a quantum leap into the future to make sure that we have a country that really lives ups -- lives up to its creed for liberty and justice for all. >> the director, lying bunch, says he wants this to be a gathering place to have difficult conversations. he is hoping these conversations will lead to reconciliation. is that your sense that this museum may be able to play the kind of a role? , sobsolutely because race

often, has been swept under the rug in america. these conversations have to be had. and they have to be held in an environment and in a special place, such as a museum, where people can be honest, and frank. because these will be conversations that will lead to the healing and reconciliation. that is not happened yet in our country. we see that each and every day. i see this museum is a real milestone and a defining place for people to come together to really began to reconcile the deplorable, horrific history of the past, and to be able to move makerd in unity to help our country even stronger and greater. >> the museum is located in the shadow of the washington monument at the white house. is this an appropriate place for it? >> it is an absolute appropriate place for it. i remember when there was

controversy where to place a museum. congress,mbers of especially the black caucus, fought to have a museum have a prominent place it so deserves and washington d.c. when you look at the history which will be told and is being told in the museum, you will see african-american slave labor built this country and made it what it is today, so we deserve that prominent place in washington and in history. >> what kind of a sense to you get among your colleagues about the kind of support that there is for the museum? >> initially, there were questions, but with regard to have that support was billed -- was built, there is congress on both sides of the aisle beginning to see this is a museum worthy of their support. it is amusing that their constituents will come to learn about the history of

african-americans. and it is a museum that nonpartisan --it is amusing for all americans. we have a special place in america. members of covers on both sides of the aisle, from what i have seen and learned and talked to them and the feedback i have received, people are really proud of this museum, and proud to finally to start to have these very difficult conversations in this museum by understanding the history of the great people who came from a enslaved consonant and were able to move forward. >> one of the things that lonnie theh hopes to emphasize is resilience of african-americans in not overcoming -- not only overcoming slavery, but segregation. is that your view also? >> absolutely. if you look at it people who for over hundreds of years endured slavery, the middle passage, and

killed and died during middle passage and came to this ,ountry, worked as slaves ancestors freed themselves, beginning underground railroad, really figured out ways to survive slavery and educate our children, when you see what we have done in this country, we are a great people, and mystical needs to understand the greatness of african-americans to be able to endure all of that. our families worth one apart. -- our families were torn apart. people were treated like animals. to stand up and be proud and say, we are americans, and we will continue to fight for our freedom because we deserve our freedom, we build this country, you are amazing people, and this museum will demonstrate that, and hopefully the rest of the country will begin to understand that. and so the negative dialogue we

hear from certain corners of our country, perhaps, they will be able to understand that that is something that should not even part of our discourse. this is in will help. i think it is a healing process. it will take place because first you have to know who people lark, and get to know when understand people, and i think this museum will demonstrate that can be done. >> last question for you -- what the -- what does the new african-american museum me to ?ou personally tha >> i have to remember my mother who passed away. i remember she wrote her check and was so happy. being born in el paso, texas, i could not go to public school because i was black. my dad was in the military. we could not eat at restaurants and go to the movies because he was black. you are denied entrance everywhere.

my mom was such a strong supporter of my work at the black caucus and the naacp. she was so proud to be a founding member, so personally, i am thinking about her and my ancestors for really giving me what it takes to continue this fight for freedom, quality, and peace. >> congresswoman, thank you very much. >> coming up, list, your calls and comments on washington journal. the live coverage of smithsonian national museum of african american history and culture with remarks by president obama. >> leading up to the debates between hillary clinton and donald trump, we will look at past presidential debates saturdays on c-span at 8:00 p.m. eastern. tonight, it is a 1976 debate between gerald ford and jimmy carter. >> we were faced with heavy inflation, over 12%.

we were faced with substantial unemployment, but in the last 24 months, we turned the economy around. >> we got 500,000 more americans out of a job today who were out of 43 months ago. -- who were out of work three-month ago. we have had a 53% increase in unemployment. >> the 1980 debate between ronald reagan and president jimmy carter. >> when i made my decision to as aall of trade with iran result of taking over hostages, i announced then and had maintained since then, that if the hostages are released safely, we would make delivery on those items that which iran owns. that had adequate warning there was a threat to our embassy, and we could have done with other indices did, either strengthen our security, or remove our personnel before the kidnapping took place. >> in the 2000 presidential

debate between president bush and incumbent, al gore. >> i will balance the budget every year and pay down the national debt. i will put medicare and social security in a lock box and protect it. >> i want to take one half of the surplus and dedicate it to social security. one quarter of the surplus for important projects and i want to send one quarter of the surplus back to the people who pay the bills. watch past presidential debate site at 8:00 eastern on c-span. want any time at www.c-span.org, and listen at 8:00 and eastern on the c-span radio app. this morning, washington examiner politics james and told -- james antle previews the presidential debate. looks at the wake of police shootings. and this weekend's opening of

the smithsonian national museum of african american history and culture. it will take your calls and you can join the conversation on facebook and twitter. president obama: my hope is that what folks watching the same images on television, and then seeing the history represented in this museum can say to themselves the struggles we are going through today are connected to the past, and yet all that progress we have made tells me i cannot and will not sink into despair. ♪ host: president obama at a white house reception yesterday marking the start of a weekend of events commemorating the opening of the smithsonian's 19th