clinton evidently sea levels rise by at least one meeting in the central plains river and to have some climate impacts maternal greater than what we see over many places really frightening club trouble explains why are people more concerned. little yellow book stores may thirty first on t.w. . to leave.

it's a first time that like people have a history that other people can see people need to understand like let me tell you just a whole range of emotions. sadness to. you know happen. it really brings you. to focus on what are people have been through. and yes we have made strides but you have along with it really.

it's astonishing you still can get a ticket i still get e-mails us you know that says tickets are now available for january and you know this is in october so clearly there's an insane demand. we didn't realize that it would become a symbol for people who want to believe in an america that lives up to its stated ideals but also has become a kind of metaphor for all that's going on in the country today one way. i saw a picture. of a black woman in sort of an excellent haitian and prayer hands were at this angle. and as we talked about it david j.

. the designers said we know that's also an angle that you see in some you room a sculpture in your room a post. i started to kind of think about the museum is this crown form. it became very clear that this trip. was actually a beautiful way of cops making this you know. i really love the idea even just the she was in. a sort of a. pressure. i have an unusual sort of relationship with the history because i had been writing about the history of an effort to to build a national museum in my dissertation so i've been very carefully following sort of what had been going on in congress various sort of public and private initiatives

to start start the museum. this is a museum. containing. hundred here and it was demanded dismissed. site no collection no money but never given up. today it stands. in the middle of washington d.c. the national museum of african-american history and culture. slavery in freedom and very large exhibition as you can see. where it's a large time period that we address. fifteenth century looking at africa and europe going all the way to the development of the nation and by the time we get to

reconstruction around eight hundred seventy seven so it's very important for people to understand that african-americans have always been pushing this notion of freedom against a backdrop of a nation that was coming into being based on the notion of liberty but in slavery. directly behind me is the display that speaks to the paradox of liberty on the platform we have several voices of freedom so there thomas jefferson of course the president of united states still maintaining inflamed men women and children while he was putting together the document for the declaration of the constitution so when we talk about equality it's a very important think about african-americans pushed not only by the definition of freedom and push for how this nation of coming into being but equality is also at the core of that equality freedom. and so that's important think about today.

in essence african-americans have always done one thing really well and that is they have forced america to live up to its stated ideals busy african-american experiences says if you really want to treat all people equally let us push you to make sure you do that and in some ways my expectation is this museum wall ways be at the heart of pushing in america to fulfill a stream for phillis promise that. slavery was. an engine that drove the global economy from the fifteenth through the nineteenth century in a very real ways and very tangible ways that created a foundation for our notions of race today back created

a foundation for economic wealth for nations for corporations. around the world around the world. and we're living with the afterlives of that. when you think about the store. and how it unfolds in the museum you go down. and sixty feet and you start at the year fourteen hundred and slave trade international slave trade begins there you know in it and the exhibit is dark it's the ceilings are lower you know and so the whole lobby off of the space is appropriate for that time in history where the slave trade began and then you ascend and you move up and that story line really does work well with the building and it's not a great.

by the antebellum period the u.s. is an economic powerhouse based on cotton that was cultivated by inflated african-american men women and children during the transatlantic slave trade here you see the same thing. and so it's not just an american story because again transatlantic slave trade period as you see in our submission we look at the nation states in europe we look at denmark we look at great britain we look at france we look at spain we look at portugal. our first complete work into this history has been the discovery of

a ship off the coast of south africa the size as a it was a ship owned by portuguese owners and left lesbian and seven hundred ninety four so we're decades after the american revolution in the midst of the haitian revolution for independence and it traveled for liz. been to mozambique on the east coast of africa. there was loaded with five hundred twelve wasn't beacons were enslaved. what's left from the ship is very bottom the ship wreck site that's been battered and pounded on the coastline of south africa in very cold waters in turbulent waters nearly one hundred yards from shore. so what's left is small pieces of timber. some what were once iron shackles. so very few

objects but very put in the context of what this ship did and the enormity of the trade very powerful engines. and these iron bars for instance. slave traders for hundreds of years used to help create ballast in the bottoms of ships of all kinds. and slave ships they became a way of helping to countermeasure their cargo that was living. is something you know that the museum does which i think is really profoundly powerful which is that when lonnie spoke about wanting to make sure that all the artifacts were real i was so happy because we forget about the aura of real things emmett till's coffin or the real a real bow of

a ship which has been taken from the bottom of the ocean and brought back to you. and there's an extraordinary i think to man to really understand the history that really has not been been told and i think it's. remarkable that the lani and everyone involved they not only had to build a museum they had to build a collection and that was one of the really big challenges that the museum in this was recognized even in the one nine hundred sixty s. and seventy's i think the head of smithsonian said well how are you going to establish a black museum that there isn't and there's no collection and so we began divan sort of identified broad subject areas that we want to do explore you want to explore the civil rights or you want to explore the role of rhythm and blues music in the one nine hundred fifty s. and sixty's so we had that broad circle then i would encourage curators to go out

and say ok how do we fill in that circle so then the question was why the fun so we can with the strategy most of the twentieth century in the nineteenth century even a piece of the eighteenth century would still be in basements trunks in attics in people's homes so we created the you know we stole the idea from antique roadshow and we basically went around the country and i would say that. maybe an eight year period of being really active we collected over forty five thousand artifacts of which probably seventy percent came out of basements trunks in attics the current museum really tells everything that good the bad the failures the struggle the disappointment the absences you know the violence the deaths i mean it's all it's all there to to reckon with and to think about. afterward why competition the architects phil freelon max bond and david j.

well awarded the contract for the design and construction of the museum in two thousand and nine. i first got wind of the project somewhere around two thousand and four two thousand and five when george w. bush the president of the united states at that time established a commission. simply to study the possibility of the potential of a museum being located somewhere in d.c. a museum dedicated to african-american history and culture. it's one of those incredible projects really it's sort of a lot of weight but also a lot of pride for me i'm really. just thrilled to be an architect of this time to be able to engage in that this is a very useful picture that i always use which really gets you to understand where

you are in the you know this is the last to build build plot which is this red highlights this is the white house here and this is obviously washington's one built lincoln this here but this is the motion to moral grounds and this is the mall coming here so we're really at this hinge moments the knuckle of the whole thing. this project was beyond just one one term one person and that it would take it you know an allegiance and collaborative effort and you know as an african-american i feel that i can bring a certain authenticity to that effort having grown up during the civil rights era and experiencing firsthand some of these seminal moments in our history.

we were one. of the. a museum has its most striking design feature the so-called corona to the canadian british architects the david j. . as an architect i draw inspiration from a lot of things but i have a deep interest in africa and africa is vast for so the u.s. wherever it may be sort of trajectory of history. i'm interested in it because i simply am africa i was born on the continent i grew up in europe and i have a deep connection also to. where my family is from and where my roots are and i don't see any conflict at all. but also i'm just from a creative point of view. completely fascinated by the creative arts of the continent and i think that. there is a lot in it which teaches about the way in which to navigate the complexity of the

contemporary world which i just think is not reference to used i think the currents the unique sort of signature because it is the one thing that you see from a distance it's. you know it's the thing that you know that people engage with from all sides as they're coming to the to the building and it's quite unique because when you look at the assembly of all of the buildings around the national now among the national mall a lot of them are very neoclassical and even the american history museum which is the next door neighbor is still a kind of abstraction at that classicism and they're sort of a large white boxes that sit on pedestals and so this sort of deconstructs i think you know that the design that you know that david david r.j. is the lead designer of the team sort of came up with really begins to unpack and deconstruct that and gives it a different sort of presence on the mall and. this is one of the first sketches to find the front. of the building. this is

this was cool. option three. which was really looking at the notion of the pavilion building on the landscape so this is really explaining this idea of the upward force and lights filtering and this building within a building it's a shape that you don't often see in western architecture and i'm hard pressed to think of another building that has that explicit a shape that is moving upward and aspirational that celebrate tory above ground so these are the early studies which looked at how we were kind of controlling the program as you can see from the project in the end there's a lot on the ground and in the beginning we were trying to bring quite a bit of the program above ground to try and reduce costs so we were looking at how that could work as landscape and how the corona would sit on top but what the final scheme started to become so this is one of the early studies was that we started to look at reducing that base and really starting to think about bringing most of the

building on the ground until we started to get to this for what starts to come up is just then the corona and the corona is the main form of the building. i've been thinking about the materiality of the building we will realise that of course frank we came in bronze was going to do the work it's so the beginning we even try to make it a real bonus this is a piece of will bronze it's. the probably this is not it's not construction a very proper. way to shape what was going to beautiful was the tonality the texture the way in which it collects of light so we started to look at a material where the it was really out of many but also coated with a broad liquid bronze coating that's been polished and burnt and subs are realize that this was starting to give us a modeling really really joy it started to catch the light very beautifully you can see that it is light you could lift it up very easily and you can see the sunlight

how it just paints of the luminosity of the light the nuances in the shadow even in darkness and how the cost of quality and the notion of bronze being this this ancient material that. that suggests jeopardy and permanence and quality. really historical way that goes back centuries you know that that was an i.q. of a smile. and then there's also it's just the story of the pattern that that it has and and why it produces this kind of dappled light on the inside and that's a reference to the tradition of african-american and those enslaved in free blacksmiths who made a lot of the screens that you see in places like charleston and new orleans.

lonnie bunch says something like it's history hiding in plain sight which is something we should be reminded. so once we understood the form and we realized that we wanted to make a cube form we realized that the front of the mall the front entrance is south so it's really the hottest part of the building and we wanted to make a welcome porch which would mediate the climate from the outside to the inside of the building and that's when we conceptualize this idea of the large porch which would be a device with the water pool which we cool you and start to bring you into the climate of the building. the porch is another element sort of like that corona that is making references to . sort of cultural forms of of architecture essentially it is a new conceive

a steel and concrete structure held on two columns and it's been fifty feet out and it's two hundred ten feet across and when you're under it you really feel like this is a home during playing like a floating pop it because the structure is. something big and generic feet. but some historians that said it actually comes from western africa migrates to places the caribbean like haiti. and in terms of it a true room form that has a kind of around on it with the haitian revolution and there are a number of of the in slave that are taken by their masters to new orleans in the form that migrates to new orleans and so the porch then becomes a sort of space that mediates between the house and and the street because it's very hot and you know and so you could sit up there you could you could converse with people so becomes a very very very important social space. if

you want to understand american notions of resilience and your optimism or spirituality you've got to look to the african-american community but even more importantly than that african-american experience has shaped the founding of the country shaped the writing of the constitution shaped politics shaped culture shaped education became the sort of battlegrounds in the nineteen fifties and sixties on how america should be seen in the world so you had many push and pulls it out of the sort of right right of african-americans to be able to tell their own story and deal with difficult history is. already.

the idea for a museum dedicated to african-americans was first put forward in one nine hundred fifteen by black that terms of the civil war years later the cole was picked up and put. by members of the civil rights generation was on a monday similar sixty two thousand and three president george w. bush authorized the legislation for the establishment of a new smithsonian museum the national museum of african-american history and culture. thank you thank you thank you but yes places more than the building. on september twenty fourth two thousand and sixteen all those who contribution to the realisation of the project celebrate the fulfillment of the doing for the century. is

a monument and the last of the others on the spot on this day one thousand nine year old ruth bona and her great granddaughter will ring the bell of the oldest black baptist church in the usa and officially opened the museum. through quantum spa god was born a slave in mississippi only a few generations separate the present from history. was found a few weeks after the opening america and like today new president. says we will eat human life.

was a historian i really believe that history is this amazing tool that give you guidance and tools to live your life and so i think that by helping people first of all understand how the construction of. blackness and how what that really did was create a false sense of difference between people and to help people understand how in many ways that notion of calling somebody the other really allowed people to brutalize people and treat them in hard ways so we think that if we can help people understand the roots of that and begin to see these people as individuals rather than as a group we begin to have a kind of conversation. through

one hundred thousand square feet of exhibition space spread across eight levels to museum explores america's history through the lens of the african-american experience. the changing america exhibition is the third of the history exhibitions so it followed on the exhibition about slavery and freedom and then the era of segregation we wanted to have this exhibition take the notion of a series of changes that have happened leading from the civil rights movement and especially the black power movement through the last five decades of american history. we allow people literally to create we are their memory with images with artifacts but we allow them to think through their own reactions and create their own most recent history rather than us trying to interpret their history for them.

telling the story what was happening in the black power era it's really enter to find where the black arts in fact some of the leaders. it's the black arts movement that black power and black arts are sister concepts and so there's a cultural revolution happening at the same time that there's a kind of political revolution for example within the black power era one of the things that is really is the changing notions of how black people are represented whether it's in television how black authors are writing about black communities black filmmakers are really looking at the ways that african-americans in that period are really rejecting stereotypes they're rejecting the ways that their identity has been codified by sort of kind of racist and racial undertones and they're choosing for themselves how to write in this case we're looking at a pin that says black is beautiful we're also looking at the two afro picks the one

with the black power one afro because when it's from the other one it's plastic but it has a black power fist right at the top and so you see. black is beautiful. i think one of the things we're really talking about in a changing america is that african-americans have really been at the center of how the nation has developed you see it through the slave. segregation and when you get to the one nine hundred sixty s. and there's really. a new day in terms of how african-americans are picturing themselves and identifying and the culture that comes out of that being american popular culture.

the building it's really conceived as a town it's very much seen as a journey. to governments which were. there are lights on chris you feel airy and there's a sense of movement and. america would not have the culture that it has today without the contribution of african-americans and that museum tells the story. it's.

a lot of times people look at art by african-americans separate from american art and they refer to it as african-american art we refer to all of the pieces in this gallery as american art. so we collect all known artists and we collect artists that we feel should be well known and artist that were actually well known within an african-american community of artists and collectors and used and have always been considered very important but are just now being recognized in the larger art world. the piece behind me is called the mothership and it's by contemporary artists named jefferson pender and jefferson is a huge size five buff so he's interested in this idea of afro futurism and afro

futurism really reflects the idea that in the future will be a time when all people are equal in race won't be an issue gender won't be an issue . the peace intersects with other. areas of the museum so in the music gallery we have a seminal piece called the mothership which was a prop that george clinton used during his performances he was also sort of one of the first effort futurism in the united states and he's will come down from the stage and was really very influential in the music industry. while the museum we were in the formative stages it was really about looking back how do we find the stuff of history well once we opened i said it's important to look forward to see if you're a curator or director fifty years from now. what stories what artifacts what material would help you understand twenty seventeen. we have

what we call robert response collecting or i call it contemporary collecting and i thought about how do we collect contemporary history in the same way that we might collect contemporary art so you look at those moments of paradigmatic ships right so you have an artifact that represents a change or a shift in the way people see themselves the way they see the world the way they express themselves. this is a photograph by devon allen it was taken in april two thousand and fifteen and it's really emblematic of the kinds of collecting we do around rapid response or

contemporary collecting shortly after a devon island took this photograph it went viral on the internet and it becomes a part of the twitter net and people are just in light rianna and jay z. and beyonce and ice cube they're also sharing this image online and other images by devon allen who lives in baltimore but with even within a week two weeks or so after this image goes viral and it's all over the world seen all over the world and makes the cover of time magazine so this image here and it being on time magazine and the fact that it's being shared all over the world like instantaneously all of that represents the apparent the magic shift that i was talking about. so those moments in history looking back hindsight are those my. it's that changed things for us so our collecting say around black lives matter movement represented that because we saw

things changing in terms of how the message was shared with people how quickly communities mobilize how mobilization change they didn't need the media they didn't need the church they didn't need any of those old forms of mobilizing the community and so overnight you can bring an entire nation together around a cause after black lives matter after social media social justice and community mobilization can never be the same again. in some ways the museum's first year transcended all we can hope you know while

we've built a place that we hoped would be important we didn't realize it would become this pilgrimage site. in the first three million visitors we had hoped for about four thousand visitors a day we're getting seven to eight thousand visitors a day. it has become one of the hardest tickets to get in america. but there were also many people who really felt that the vote this was racist if we created this museum there were a lot of people a lot of white supremacists who attack the museum there were web sites attacking us . even when i write up beds in the newspapers around athletes in protest or suddenly you get paid. as much as you get support for us one of the saddest moments was when somebody left

a noose in the museum. and the noose is a symbol of the violence that african-americans have experienced throughout their career and to be able to sort of have somebody leave a noose really reminded me in her mind of the stand off that's exactly why this museum is here when you think of the brutality of slavery. and then you think of the evolution and the achievement and the progress despite those struggles and the ability to have a vision. and the ability to in fact. create something that was unique. to the american culture. it was not emotional it was emotional coming from the basement where with things started and it coming up to the top and seeing that so much stuff is still going on

you know racism is still there we're challenged to still post to make this today it was emotional. an experience that i think not only does every african americans need to see they think every human needs to see this because this kind of gets you into thinking again oh why do we do the things we do why are we in the positions we are in what can we do to change the status quo education i think education is key to everything a lot of people are misinformed by that's the main point of the museum itself so if you how a picture of the media can distort something to look a certain way and the story has not been told that not only not been told that you did friends tell me i do something that we. might as an hour and a half. they're going to this there are a couple instances where they took things that were in the american history museum

artifacts and then put them in a different context you know like oh it has all these like really awful historical constitutions the way they totally don't tell you about the american history. the building seems to have kind of created a kind of galvanizing quality it's sort of become sort of a sort of rallying cry a sort of place of a sort of protest as well which was not kind of what i thought about. i i miss the. last time i. felt if somebody. took my time to come back to where. he started it would. be here but. like my. first march. i would. still stay up but

i would thank you i'll go on to say it was. so complex that. when you go back i. during you know civil rights you start to wonder. what i have that much courage. as a lot of those other people you know where would i be if it was me and the time. who would i be. the power of seeing for me people gathered under it on the porch gathered around it is as deeply it's i mean it's deeply moving and so for me it's almost you know like tearful because you see. to feel like you have made something that has resonated with people and gives them the agency that they require to deal with something

which is so complicated. we were eight years in power is the title of the latest book by tenacity cults one of the main contributors to the discourse on a conflict ridden relationship between black and white americans. the eight years in power maybe elsewhere in the new museum the dialogue is more powerful than ever. i think to this museum long after i'm gone or to be the place that becomes that safe ground for people to come and grapple with what separated them that this sort of be the place that tells the candid truth the unvarnished truth so that you deal

with things that are painful but it also ought to be the place that allows us not just to see african-americans as people who struggle but african-americans as people who loved who lived who built and so what you really hope is that in the future this will help people see a more complete fuller notion of black america and invites tension a fuller sense of what america can mean. and a lot of folks just want to be right. they just want to be right you know i mean it's like you know everything i say and the whole authority is it would be a right and i have always felt like my authority is it being an honest you know i'll be straight with you i don't mean i'm of the right but i will be straight. i'm excited about how. the telling of our stories continues. you know on end to the deep into the twenty first century you know the story is not over it's not

complete and the smithsonian body bunch and the staff have anticipated that and left. anough roam both programatic lee and physically for the story to evolve and continue to be told i'm looking forward to being a part of that. was . that the.

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reports with comprehensive background. makes up for some r. and political and social topics considered from different perspectives. we cover the issues that move turkey on a unique platform for information. plus ninety connect to an unbiased agenda subscribe metal on youtube. rational sorry t.s.a. at least forty people died when a passenger plane caught fire and made an emergency landing at moscow's sheremetyevo airport the aeroflot plane bound for a moment turned back after takeoff some passengers escaped using emergency slides. israeli prime minister benjamin netanyahu has vowed to keep up quote massive

strikes on the gaza strip. a two day escalation in violence has killed at least.