75 dropped the 2nd 63 i think but the world number 9 cruised to victory by taking advantage of threat of a lackluster final set the game ended 753662 i think. this is the news live from that and coming up next a journey through african-american history we'll take you to the museum in washington the substance a symbol of reconciliation thanks for that thanks so much for watching to. europe the big idea. but what's become of it. will it look like tomorrow. keeping for a better future isn't enough europe requires our purchase of. your

elections 2019 may 26th on g w. it's a 1st time that like people have a history that other people can see people need to understand they would have to tell just a whole range of the most. sadness to. you know happened. it

really brings you. to focus on what are people have been through. and yes we have made strides but we have along with lee. 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 an october secretely 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 were one.

i saw a picture. of a black woman in sort of an exit taishan and prayer hands were at this angle. and as we. gave it r.j. and the designers said we know that's also an angle that you see in some you sculpture in your room or posts. i started to kind of think about the museum is this crown form. it became very clear that this triple header. was actually

a beautiful weapon cups meant in this universe. i really love the idea even just the she was in. a sort of. presence. i have an unusual sort of relationship with the history because i have 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 in various sort of public and private initiatives to start start a museum. this is a museum but containing. one. 100 years it was demanded dismissed. no collection no money but never given up. here today it stands like

a bronze in the middle of washington d.c. the national museum of african american history and culture. slavery and freedom and very large exhibition as you can see almost 18000 square feet but it's a large time period that we address. 15th 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 $877.00 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 steeped in slavery. directly behind me is the display that speaks to the paradox of liberty on the platform we have several voices the freedom so there

thomas jefferson a core president of the united states still maintaining enslaved men women and children while he was putting together the document for the declaration of the constitution 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 they need some 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 its streams for fill its promise.

that. slavery was. an engine that drove the global economy from the 15th through the 19th century in very real ways in 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 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 right 60 feet and you start at the year 1400 and slave trade international slave trade

begins they are you know in it and the exhibit is dark and the ceilings are lower you know and so the whole lobby off of the space is appropriate for that time and in history when the slave trade began and then you ascend and you move up and that story line really does work well with the building layout i mean it's an integrated. by the ante bellum 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. and our 1st complete work into this history has been the discovery of a ship off the coast of south africa the size as it was a ship owned by portuguese owners left lisbon and 794 so near decades after the american revolution in the midst of the haitian revolution for independence and it traveled for liz. been to mozambique i mean he's coast of africa. there was loaded with

512 wasn't beacons were enslaved. what's left from the ship is very close to the ship wreck site that's been battered and pounded on the coastline of south africa in very cold waters in turbulent waters nearly 100 yards from shore. so what's left is small pieces of timber. what were once are in shackles. so very few objects but very put in the context of what this ship did and the enormity of the trade very powerful larger cities. and these iron bars for instance. slave traders for hundreds of years to be used to help create ballast in the bottom of the 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 is an extraordinary i think to man to really understand a history that really had not been been told and i think it's. remarkable that that 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 1960 s. and seventy's i think the head of the sony is that well how are you going to establish a black museum that there's an interesting collection and so we began the van and sort of identified broad subject areas that we want to do explore if you want to explore the civil rights or you want to explore the role of rhythm and blues music in the $1950.00 s. and sixty's so we have 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 do you find so we can with the strategy most of the 20th century in the 19th century when a piece of the 18th century would still be in basements trunks and 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 and. maybe an 8 year period being really active we collected over $45000.00 artifacts of which

probably 70 percent came out of basements trunks in attics the current museum really tells everything the good the bad the failures the struggles the disappointments the absences you know the violence the debts i mean it's all it's all there to to reckon with and to think about. after a world like competition the architects feel free lent max bond and david and jay well awarded the contract for the design and construction of the museum in 2009. i 1st got wind of the project somewhere around 20042005 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 sing again that this is a very useful picture that i always use which really gets you to understand where you walk in the budget this is the last to build a plot which is this red highlights this is the white house here and this is obviously washington is one that lincoln is here but this is the motion to moral grounds and this is the mall coming here so we're really at this hinge moments he would not call up the whole thing.

this project was beyond just 11 firm one person and that it would take it you know an allegiance and a collaborative effort and you know as an african-american i feel that i can bring you know 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 we were the museum owes its most striking design feature the so-called corona to the canadian british and i could takes a david james. as an architect i draw inspiration from a lot of things but i have a deep interest in africa and africa's diaspora so the u.s. wherever it may be the sort of trajectory of history. i'm interested in it because

i simply i'm african i was born on the continent i grew up in europe and i have a deep connection also to my family is from and what my roots are. and i don't see any conflict in that at all. but i. 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 referenced or used i think the kernel is 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 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 alger as 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. this is one of the 1st sketches from start to define the frame. of the building. this is this was called option 3. which was looking at the notion of the pavilion the building of the landscape so this is really explaining this idea of the upward force and lights filtering and this building within a building that'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 is aspirational that is 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 to me and there's a lot on the ground and in the beginning we were trying to bring quite a bit of that program above ground to try to reduce costs so we would look. and how that could work is not straight and how the corona would sit on top but what the final scheme started to become so this 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 form that what starts to come up is just then the corona and the corona is the main form of the building. in thinking about the materiality of the building we we realize it of course frankly been problems we're going to need to work with so beginning to even try to make it out of real blocks and this is a piece of real bronze if it's really. the problem this is not it's not

construction a very profitable way to shoot what was going to puta was the tone i would see the texture of the way in which it collects of light so we started to look at the material where the it was really other 1000000 but also coated with a bronze liquid bronze coating that's been polished and burnt and subs are realize that this was starting to give us the modeling that we really really enjoy it's sort of the 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 picks up the luminosity of the of the light and the nuances and the shadow even in darkness it has a hostage quality and the notion of bronze being this this ancient material that. that suggests jeopardy and impermanence and quality. really sturrock away that goes back centuries and that that was an i.q. as well. for. the.

moment and then there's also 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 him 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. of. 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 be inside of

the building muscle we conceptualize this idea of the large porch which would be a device with a water pool which you cool you and start to bring you into the climate of the building. the porch is another element sort of like the corona that is making references to. sort of by cultural forms of of architecture essentially it is a new transceiver steel and concrete structure held on to columns and it's been 50 feet out and it's 210 feet across and when you're under it you really feel like this is a home during play like a floating pop it because the structure is. really 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 2 room form that has

a kind of around on at with the haitian revolution and there are a number of of the enslaved that are taken by their masters to new orleans in the form then migrates to new orleans and so the ports 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 out 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 resiliency or 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 $1950.00 s. and sixty's 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. the idea for a museum dedicated to african-americans was 1st put forward in 1915 by black the terms of the civil war years later the call list picked up and put. by members of the civil rights generation was a day similar 62003 president george w. bush authorized the legislation the prettiest devilish revenue smithsonian museum

in the national museum of african-american history and culture. want to thank my thank you but this place is more than a building. on september 24th 2016 all those who contribution to the realisation of the project celebrate the fulfillment of the doing of this and. it is a moment the last of the others on the small world on this day 1009 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. for her ruth one of the spog was born a slave in mississippi only a few generations separate the president from history.

and. a few weeks after the opening america elected a new president. to. run life. as 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 1st of all understand how the construction and. 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 our 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 the kind of conversation. through 100000 square feet of exhibition space spread across 8 levels to museum explores america's history through the lens of the african-american experience. the change in america exhibition is the 3rd 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 leaning from the civil rights movement and especially the black power movement through the last 5 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 the plaque art some of it in fact from about leaders. if the black arts movement that 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 had 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 black is beautiful we're also looking at the 2 afro picks the one with the black power this one afro because of what and it's from god and the other one is plastic but it has a black power fist right at the top and so you see. there black is beautiful is the pin that we have. i think one of the things we're really talking about in a changing america that african-americans have really been at the center of how the nation has developed you see it through the slavery and. segregation and when you

get to the 1960 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 and. the building it's really conceived as a target it's very much seen as a journey you've. got to respect. being in the treaty. there are lights on. feel every and there's a sense of movement and uplift.

america would not have a culture that it has today without the contribution of african-americans and that museum tells the story. 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 use them 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 side 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 the seminal piece called the mothership which was a prop that george clinton used during his performances he was also sort of one of the 1st effort futurism in the united states and peace will come down from the

stage and was really very influential in the music industry. and while the museum 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 50 years from now. what stories would artifacts what material would help you understand 2017. 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 chains 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 2015 and it's really emblematic of the kinds of collecting we do around the 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 2 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. that changes 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 1st year transcended all we can hope you know while we've built a place that we hope would be important we didn't realize it would become this pilgrimage site. in the 1st 3000000 visitors we had hoped for about 4000 visitors a day we're getting 728000 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 their websites attacking us. even when i write op eds in the newspapers around athletes and 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 news really reminded me and reminded the staff 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 coming up to the top and seeing that so much stuff is still going on you know racism is still there challenging still goes to make this today it was emotional. an experience that i think not only does every african americans need to see to think every human needs to see this because this kind of gets you into thinking again 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 the key to

everything a lot of people are misinformed by that's the main point of the museum itself and so if you how pictures and media can distort something to look a certain way and the story is not been told that not only not been told me that you did friends family i do so many. hurt by this and. have. there kind of 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 in the american history. the building seems to have kind of created a kind of galvanizing quality it's sort of become a sort of a sort of rally cry a sort of mini sort of a sort of protest as well which was not kind of what i thought about but i find

this. and. i. felt if somebody. looks like they're trying to come back to where. he started it would. be. but there are like my. that's why. i did it feel they have i was i was out on a 3 step. so it probably makes them that. when you go back that i. doing 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 busy. we were 8 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. in the 8 years in power maybe elsewhere in the new museum the dialogue is more

powerful than ever. and. i think that 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's separating 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 and by extension a fuller sense of what america can mean. and

a lot of courage is one of the 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 isn't being honest you know i'll be straight with you i don't mean ima be 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 21st 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 rome both programatic lee and physically for the story to evolve and continue to be told and i'm looking forward to being a part of that. was.

around i. was going to. was. there. a restored village in umbria and then your it's an olive grove. a monument to human dignity. a scarf for 820 europe's. what's the connection here and it's the short version of a long story about the billionaire and champion of workers' rights when you look at

you know. 30 minutes. we're not here to judge but to eliminate prejudices. we're not here to change your opinion. but to open some space for different points of view we're not here to speak on behalf of anybody but to let everybody speak for themselves. not here to give the right answers but to ask the right questions. we're not here to indoctrinate but to listen.

plus 90 connect to an unbiased agenda subscribe now on you tube. this is the daily news live from berlin the us wraps heads up the pressure on iran a naval strike group heads to the persian gulf to back up a u.s. aircraft carrier and bombers are already there washington says it's the spawning to threats from terror and we'll go there live for the latest also coming up. casa just released from captivity and burkina faso

a tribute to the french commandos that were killed and the rate that freedom. and in sports the benefits.