patriots or illiterate terrorists and the stakes could not be higher. this comes from a united states military commander in the united states. i'll jump across the border and tell you why the stakes could not be higher. this is pakistan in 2005. 74,000 people were killed in this earthquake. 18,000 were kids going to school. most of the kids that died were younger and female because they didn't have desks so when the walls started shaking and the roof came down they perished. there was 9,000 schools destroyed or rendered unusable. 1/2 million kids displaced out of school. in earthquake, they call it the coy mot that means this

apocalypse. at first there was a very heroic effort. infer natio international community helped. after katrina red cross got 2,000,000 for help and for this earthquake red cross received 6 million dollars. the united states sent in helicopters that conductd the greatest air lift in the history of mankind. moved about 20 thousand on thes in the mountains to keep 1/2 million people a hive during the wintertime. it was very heroic and people were grateful. aid has dropped 70 percent after a year in the wake of that void many jihad and people labeled terrorists have set up camps. this is one here.

in pakistan. and in that camp, there are many kids that are previously were going to school and now they have no school and the cost to help them go would be about one month per month per child. fifth grader 20 bucks a year. first grader five bucks a year. they get their food in the back on the mess tenth and then on the left is an extreme place where people get indoctrined into a violent islam. because of international lack of help for those kids to get implicated these kids are here. there's another camp here. osama bin ladins first assistant. spent two-years in gann tan know bay in cuba and he's running large camp and just down that

the united states, 212 mash units. what's going on is they're agenda is to get people to be dependent and indoctrinate the violent islam. unfortunately we're a nonprofit in the states if we go into the camps or talk with anybody there we're affiliating with a terrorist organization and shut down by the, irs so we created a viral incubator for terrorists similar to what happened in afghanistan in 99. i showed this on capitol hill and they told me this was a classified photo. i took this beside the road here and you know, just to - i think this is news that should be broadcast all over. that the international community, pakistan government,

nobody cares about the education of those children. one dollar per month child instead we're sending 9 $20,000 tomahawk cruise my siels when the cost of one we could build 50 schools and over a generation to educate 10,000 children. do you think that photo should be classified? get in trouble? okay. this is - we started putting up some schools because there was not any getting put up there this is the village, 24 young girls died in the rubble here and this is a girls high school. 7 of - bodies were unclaimed.

there were several that died during the earthquake. most of them had not been claimed because they're parents were also killed in the earthquake. they wanted to build a memorial around the graves to remember the loss of life had not gone in vain for the girls high school. this is patka girls high school. also running other schools. don't have all the resources to put in buildings. this is in afghanistan and this is a ninth grade class. they're going to school in a russian, soviet, old armored personnel carrier. take a look inside. there's 12 ninth graders going to school learning english. the younger boys are going to school in a steel truck container used to bring over united states military supplies.

80 kids going to school in a truck container. the girls are outdoors going to school in the dirt with one mat one black board that keeps blowing down and they keep picking it up in the wind and one teacher. to me, the courage and hope that resonates when i see those kids - some of these young woman, walk 1/2 hours to get to school. it's time we need to help support them and that they have the opportunity and privilege to all go to school. so, i'm - sometimes people ask ar organization and the board mass upon derd this to say half of our staff is illiterate. why do you hire illiterate people to work with literacy organization. these men and women worked for a

long time for us and they're willing to go in some of the most difficult, remote or dangerous areas to risk their lives year after year just to get one girl in school and i call this is the most over achieving under qualified staff on the planet. you know, some people ask me, well isn't it difficult or dangerous over there? what's the most difficult part about my job. the most difficult part of my job is i'm an indiana jones but i'm not, i'm a father, i'm a husband, and i'm a son - i'm just like all of you. i struggle sometimes in daily life but i'm passionate about education and i know i couldn't do this without the great love

of my wife and two children who put up with me being gone. we've been married 12 months - no. 12 years. she usually doesn't come. i've been gone about 65 months of my marriage and i didn't get to see my kids first learn how to tie they're shoes or my daughter first learn how to ride a bicycle. i did get to see, kiter learn that. i have that incredible support not only from that but wonderful communities. we could never thank all the communities for helping with the children overseas that are able to reach they're goals through - my wife said i'll preach now. so, any way, thank you.

keep on-going here. [applause] and i wake up a lot of nights and my wife says go to sleep but i can't because you see a village and then it turned into this big city in mexico and then you do more and it turns into china and you wonder where we're all headed. i don't know the answer but when you know thing i do know fiduciaries you listen to what the people want most of all, it's education for all they're children and i ask many women now when i'm over sees, i ask the women i'm here is a your servant and would like to help you what do you want? most women would say i want a good husband or to become wealthy or prosperity. what most women say is, we don't want our

babys to diet. how do you answer that question? it comes through educating girls and through female literacy. >> thanks, doug. this is different schools. my daughter occasionally, she looks at these photos and said, dad you don't have any playgrounds in your school so now we have playgrounds and skipping ropes and it's been a really great blessing to see. play is an important part of the learning process and socializing so thank you, amira. this is in la lander school, the

story is in karen chronicled it in a tab you have there. well this school, there are somal bonn there and tsom some,al b al ban they're and th attacked and tried kill people that came to school. the taliban. the headmaster peddled his bicycle 30 miles to the commander leader and he had two daughters going to another school. he got very upset and came in with 120 militia and did kill onal ban and wounded one and arrested the 12 dozen others and found out they had gotten

200,000, 3,000, $100 to shut down the school from the mulla in the village. they went to his house and arrested him and they're a waiting trial in kabul and will probably get 6 - 8 years. two days later think did open up the school and even had another inauguration for the school because they said we want our kids to go to school. there are about 18 schools - she's got the facts. there's 18 girls that are not going to school and we set up what's called displaced girls school but the rest of the kid have come back here and i think if if quest we can give those k the support they need for education i think things could

really make a difference. this is another school. this is in a remote area of north afghanistan. the first day of school there was registration day and the kids came to register for school and noticed as i walked i looked down at their chinese rubber boots and flip flops and i kept looking at the ground seeing those little impressions of their prints and i thought back to 1969 when neil armstrong stepped on the moon and said one small step for man and one giant leap for mankind. one tiefu tiny little print for girl walking in the dirt but years later, dozens of other girls will be behind her and eventually hundreds and it will be one giant leap for they're

community. it really was the peaks that first brought me there but the people that bring me back again. when i got to corefa in the spring. kanle was very sad. his wife passed away. first we embrace each other and there's dust flying around and tiers in our ayes and then we go over to the local graveyard. as we walked to the graveyard we saw her buried in the box in the ground facing the sunset. and out of sentiment he said without her, i'm nothing and then he said something that i would never forget. he said very soon you're going to be standing here and i'm going to be in the ground. and he kind of chuckled and i didn't think that was very funny

because i lost my father in his 40's from cancer in 1981 and my sister and you know all of us have lost somebody close to us and you never get over that loss. and when we're looking down at the ground, he said when that moment happens, did i say that already? soon i'll be in the ground and he chuckled and he said when that moment happens and you come to see me the ground you'll be very sad but i want you to do one thing, listen to the wind. and i got back in october of 2001ened i was in pakistan around that very hard period called 911. after that the united states state department and embassy wanted to evacuate all united states citizens out of pakistan saying it's dangerous here but i

had a lot of work to get done so. i called my wife and asked her what should i do and she said stay there with the people you love. finish up your work because you need to be over there right now. and when i was in pakistan after 911, everywhere i went i was touched by outpouring of empathy and hospitality. i remember a poor elderly widow that brought me five precious eggs and pushed them in my palm and said bring these back to the widows in new york suffering. this is all i have to share with them. i was invited for prayers of piecen the mosque and every whether i went people apologized even though they didn't have anything to do with it. finally it came time and i went back and when i got to corefa, hangele had passed away.

i went to his grave and stood there look at his box in the ground and thought, how can i go on, this man had become my father, mentor and guide. he told me to sit down and be quiet and take a bath and so many things. and then i remembered what he said. he said to listen to the wind. and i listened to the wind and in the wind i heard the voices of the children in the school and i remembered and realized his legacy and vision for education came true. and i also realized after a decade i had finally come full circle and i hadn't found the field of dreams in a corn field in iowa and i hadn't found the field of dreams at the top of,k 2 but i found the field of dreams in a place in a dusty field in a place called corefa

in pakistan. amir you want to come up here. >> ♪ i see young boy. etching letters in the sand. ♪ in this land of ancient scars the promise still remains. knew muse when darkn ♪ when stars comes. ♪ first cup your a stranger. ♪ second cup, a friend. ♪ by the third your family. ♪ how long to trust a stranger? ♪ how long to sip three cups of

tea? ♪ >> as the city of san francisco has grown, there are a number of cultural organizations that have grown with it. the san francisco symphony, the ballet, and ensure we are celebrating the 75th anniversary of the san

francisco museum of modern art's. one of the things many of our viewers may not understand about museums is the way they grow and evolve is really about a broad. his patient and support from many individuals who give their collections -- and broad support from many individuals who give their collections to the museum. this year it will be celebrating and abolishing those individuals through exhibition -- and acknowledging those individuals throughout asia. joining me is janet bishop, the curator. i understand you have been with the museum quite a number of years. you remember its original home on van ness. now you are part of that transition to the center, the civic center, and of course your

museum has been really the anchor of cultural tenants that has helped us transform this area of the city. >> to my mind, it is wonderful to be part of such a rich cultural community. when visitors come to this area, that have so many different options. >> let's talk about the anniversary show, which will be a phenomenal opportunity for san franciscans and all visitors of the city to get a real sense of how the city has grown and the importance of culture. >> we focus on moments where it was involved in pushing the dialogue about contemporary art forward. the jackson pollock exhibition in 1945 is a perfect example of that. our founding director was deeply interested in abstraction and was engaged in dialogue with the guggenheim about bringing the jackson pollack showed to the west coast.

the original price for the painting, $750. are directors thought that was too much of a stretch before the board of trustees, so she convinced them to reduce the price to firefighter dollars. it was just -- to $500. it was what was needed to persuade the board. it is a very subjective history of art. it has been very much shaped by the individuals involved with the museum over the years. in 1935, would start with the gallery with works that came in through albert bender, one of our founding trusties. when we opened our doors in 1935, 181 of the 186 pieces in our permanent collection had been gifted. >> what are the names that pop out as the museum evolved? >> we have another gallery that looks at the theories that the

museum has since the late 1980's. we focus on a particular aspect of that program that developed under one of art curators. he arrived in 1989 and was especially interested in artists. >> are some of the highlights? >> one of the aspects of the museum program that i have been especially involved with have been the exhibitions that stand for society for the encouragement of contemporary art. it is encouraged to honor exceptional bay area artists during their careers. for instance, an early worked who showed here in 1996. for this exhibition, he has extended an updated it to 2010

with the addition of photographs and other frameworks. >> thank you for joining us. >> my pleasure. >> as we examine the 75th anniversary, we cannot overlook its important role as an educational institution and how it brings public program to all of our citizens in the bay area. try me now to talk about that is dominick, the curator of education and public programs. you are vested with a multifaceted responsibility, with education and also multimedia. could you explain that? >> there are three main areas. we produce education activities for all ages, k-12, and adults,

and we also produce a lot of educational media, a lot of interviews with artists, stuff that we published online, and other galleries. there's also a public program, which include some educational activities, but also live cultural programming for the artists projects. >> what are all the ways that the museum reaches out? >> the latest platform for educational media is launching right now with his anniversary. we have gotten to the point where we could put a lot of the content about artists, the stories behind artists we have had on line, but those on to the ipod touch. >> could you talk about the education role that the museum plays in the city of san francisco? >> we are in the middle of a new initiative to provide more

resources and programs for families and the locality. we are benefiting from a grant from the wallace foundation, and in the last two years many more bay area families have come to the museum, participated in the programs, most of which take place on sundays. we will see more and more different offerings rolled out in the coming months. >> thank you, dominic, for being part of "culture wire." >> the museums are almost like a team sport. there is a tremendous amount of talented staff that puts together patrons to help support the institutions, but they all need a coach. the coach is the director. neal, could you let the viewers know, you have been director how long?

>> we are working on eight years. >> now you have the 75th anniversary. how does that feel? >> we opened this building in 1995. it was bought at that time as a move from the civic center and the veterans building 2 third street, into our new building, a much expanded space, better space. it will be wonderful for the museum for decades to come. and 15 short years we have been amazed by we have outgrown the building. the collection has grown to 26,000 works. >> was a challenging to decide what was going to be put on display during the anniversary year? >> 3 people on our staff spent 2 1/2 years of going through archives, the storage vaults,

honor think all kinds of works that we have not seen -- uncovering lot of works that we have not seen but also history we uncovered about how we presented a television show produced by the museum, in the museum, in 1950. a lot of great stories that the presentation tells. >> the most recent news was the incredible decision on the part of donna morris fisher to give their collection to sfmoma. >> think it is commonly understood that the fischer collection was 1100 works by some of the great contemporary works, one of the great collections in the world. in fact, the collection has not been seen. it has been largely stored at the headquarters, there has never been a publication or exhibition.

>> but fischer collection and the additional expansion over the next 50 years, what in the next 25 years will the museum be doing? >> we are very committed to expanding the museum, expanding the collection, the overall growth of the museum. that is one of the things that is very important to us. we are about to enter a strategic planning process. the fundamental question we want to address is, how wil sfmoma growth and enhanced its engagement with the community? it is not enough that the museum has great works in its collection, has great exhibitions, wonderful education programs, it is how does the institution grow and enhance its relationship with the community. it is very important to us. >> on behalf of the residents