i went to the museum as a kid. there is a magic in museums. i talked to famous people. what inspired you? i was four years old and my mother took me to university and i saw the dinosaurs, a changed my life. -- took me to a museum and it changed my life. i believe in the magic of museums and here when you see 25 million people a year in the museums -- but since i was born the population has doubled. now it is 7.5 billion people, and since i graduated from college, we had this sinkhole the digital revolution which is fundamentally changed our information. people not just going to museums but there is a two way conversation in the whole world. theenly it is not just nation that is our audience but the world. part of the plan is to go out for a billion individual unique people a year. you think that is crazy but it is not even that crazy. lots of companies have been formed in the last 20 years that usually reach a billion people a year, so why not the smithsonian? >> i left your telling us since you were in college so long ago, so many things have changed. for an elderly gu

designated in 2004 the museum as the national museum. in 2014, the congress, again, in a bipartisan bill named the memorial as the national memorial. effectively carrying both congressional designations as the national museum and national memorial. quite a fitting tribute for a citizen initiated museum and memorial to honor those who served in world war i and mark the turning point for the nation and the impact that it had in the united states. the iing catastrophe of that moment that launch and captured here in this museum and memorial with national designation. let's go on up to the memorial and talk about some of the features of this extraordinary landmark. behind us this is extraordinary memorial tower dedicated in 1926. the foundation stone layed in 1921 when they gathered here to dedicate the project, begin the building works and this extraordinary tower which in its totality is larger than the statue of liberty. here a dominant feature and an extraordinary tribute for those who served in world war i and also marks the national eng

lemay museum to lemay-america's car museum.from other donors, as well. that's discouraging to harold's heirs because his wish was for a museum devoted just to his world-record collection. but the family believes there's still a chance to keep his vision alive. eric, what is this place? would you believe a second museum just minutes down the road from the first? that's next. my "business" was going nowhere... so i built this kickin' new website with godaddy. building a website in under an hour is easy! 68% of people... ...who have built their website using gocentral, did it in... ...under an hour, and you can too. type in your business or idea. pick your favourite design. personalize it with beautiful images. and...you're done! and now business is booming. harriet, it's a double stitch not a cross stitch! build a better website - in under an hour. free to try. no credit card required. gocentral from godaddy. >> now back to "strange inheritance." >> harold lemay's family continues to face the dilemma of how to honor his legacy. a

we look forward to having you this museum, and we have justvii museum and memorial. >> you can watch this or other american artifacts programs at any time by visiting our website, c-span.org/history. >> and now, we continue our look at world war i posters at the national world war i museum in kansas city, missouri. this is american history tv, all weekend, every weekend on an

as well as friends of the museum.

and she researches food and museums. and next to her, teresa mccullough is a historian of american brewing history, professor of the american brewing history initiative, excuse me, here at the national museum of american history. and this seems such a wonderful place to have this panel on taste because i can't think of any other place really on a global scale that does such an extraordinary job of raising questions of taste and food history and translating those for the general public. i had the privilege of participating in their food history weekend, for those of you who -- some of it is still up on line. well worth using for your own pleasure, for your own viewing pleasure. but also in using in class. and i would encourage you to spend some time in the exhibit today. before it starts to be -- transformed, expanded. >> refreshed. >> refreshed. and that in a way leads to some of my opening thoughts. what i would encourage you all to do, we're going to lay out some initial questions, give you some quick incites into the

the asia art museum connects art to life. our mission is to connect diverse communities to historical and contemporary asian art and culture through our world-class collection and exhibitions and programs. in the past 15 years i'm proud to say in pursuit of this mission, the asia art museum has had an excellent record. the transformation project is essential to provide up-to-date gallery space to create exhibitions that draw contemporary audiences for contemporary experiences. in particular, the actual construction project is modest and staying within the existing footprint and the building on top of the existing one-story building on the back of the street. but the impact would be huge. but only where we have the new pavilion for special subscriptions and above it a terrace for contemporary art. we would be doing also renovation in our educational classrooms, the lobby, and first floor public spaces as well as a brand-new display for our world-class masterpieces in our collection. in addition the gallery currently uses those

think you for coming to the museum. i'm going to talk a little bit about my work as a curator, documenting food history through oral histories connected through sa rose, former mexican guest workers who came during world war ii. looking at mexican-americans in the wine industry. i will give you examples of how men, men who came here on work contracts, were fed up with the dining options that were given to them through this you program. into their ownrs hands, creating more familiar tastes in food to their liking, giving them kind of an agency, giving them a little more power in this program that was really stacked against them. id with the wine workers looked at several families, and looking at how they are shaping the wine industry and how they put taste at the center of their wine business. rooms, food-tasting menus, they are using this cultural identity to claim space and make a space on the american table and in the global wine industry. off, we did a lot of these oral histories. it was a collaborative project betwe

, american history museum and holocaust museum and our museum. in our case, we fundamentally believe that great exists, great conferences, great programs and all the tools you use to get out on social media depend first and foremost on having great scholarship and best minds on world war ii history, in our case, and its aftermath, at the table in designing every square inch of an exhibit to tell a story in an authentic way. and we have had from the last 15 years a group of presidential counselors with people like don miller, rich frank. we have a core of people who are kind of an advisory group that help look at us when we're still in the work stage, trying to shape a story for the future, make sure it's correct then the new institute for the study of democracy. we hired as our seniors, mary stone, professor ron sitino and another four, five, ph.d.s in that center to look at everything we do and also to have that network of the advisory groups to examine the history that we are trying to tell. to come back to the point, though, of a moment ago, t

a theme throughout the museum and the other nra museums is the role of firearms in american life from the earliest days up through today. how they have been an integral part of the founding and expansion and growth of this country and how they have just been a part of american life throughout history. we try to focus on that here. whenever we can put a face with a firearm, a gun that has been owned or used by a historical figure, we'd like to do that. we like to show firearms in the context they have been used. we are fortunate to have a number of guns that have been owned by presidents and their close associates and we will take a look at some of those right now. we will start out with the most recent one. this is a winchester model 21 shotgun. they are very elegant and popular and a well-made shotgun. you get a clue to the owner of this one when you look at the underside and easy see the five stars there of a five-star general and you see the initials d.d.e. this was a gun presented to dwight david eisenhower and was one of his favorite guns. there is a fun story about this gun in o

when you look at artifacts in a museum, many times they speak for themselves. this indicates that fear is one of the most powerful weapons in any war, particularly world war i. one of the things unique to the national world war i museum and memorial is we get the opportunity to tell the global story, and we get to one of my favorite spaces, the international uniforms. world war i was the first true global war in what started as the balkan conflicts. it quickly engulfed europe, expanded to the commonwealths and colonies, and spiraled outward from there. in this space, we get the chance to see uniforms that many don't think of when they think about the world work conflict. in the first case, a japanese infantry uniform of the division that went into battle. you might notice the calfskin case on the side of the uniform. we also have the opportunity to highlight the south african scottish kilt. with this, it's actually one of atwith this, it's actually one of our collections favorite things about in artifact. it can change. as it is presented you see the interior o

in the museum. so at such point, they were returned to san francisco in the late 1950s. the board accepted five of the murals and installed them in public display. you will note that six murals went and five came back. there is the sixth mural, art forms of the pacific, 12 panels, 16 feet by 24 feet that was not in the set when the murals were returned from new york to san francisco. so only five of the murals were received and installed, and only five, thus, are with tida today. there's research done by interested citizens into this potential whereabouts of the missing mural. it is still kind of a mystery that continues today, but at this point, unfortunately, it is somewhat of a cold trail. we hold out hope that stranger things have happened and we will reunite this mural with the set. it's important to note that he created six and the collection owned by tida is only five murals. 2001, the ferry buildings renovation removed the space where the murals to be installed. they were of overwhelming siz

we look forward to having you this museum, and we have justvii museum and memorial. >> you can watch this or other american artifacts programs at any time by visiting our website, c-span.org/history. >> and now, we continue our look at world war i posters at the national world war i museum in kansas city, missouri. this is american history tv, all weekend, every weekend on c-span3. doran: posters in world war i were the true social media of the day. there was no television or radio, and posters were used by all the belligerent countries in the war to impress their ideas upon the passerby, and to make them do things that the government wanted them to do. and people regard posters as propaganda, but a lot of them are used for other reasons as well. and the exhibition we have we are featuring at the world war i museum and memorial is showing a variety of posters from many of the different countries that produced them during the war. and they were not only incredible artwork, and many famous artists worked on posters , produced posters for the countries during the war, they were also rep

and it is represented throughout the museum. during the war, posters played a major role on the american home front in getting people to save wheat and take their products to be recycled, and to actually help the environment and help the war effort by, as this poster says, ordering your co al now and getting ahead of the game. although supplies were not necessarily rationed, they were in short supply. coal was one of these. at the time, coal was delivered by horses. it is interesting the number of posters that feature horses. horses were still a major form of transport for the united states in world war i, even though cars and trucks were in use. horses still played a major role, both on the home front and battlefront. i think this poster is interesting because the artwork is really expressive, and it really shows that posters could not only be advertising media, but also works of art. one of the few posters that we have in the museum collection is a german poster that is a fund-raising poster. it is asking people to give to the

this is one of the most visited museums in the u.s. capital many people come especially to hear the stories the survivors have to tell market prices determined to collect as many of them as possible they are eye witness testimony to a crime against all humankind but her generation is quickly vanishing the holocaust is the only war where there was. you know that whether germans used. industrial methods of killing people this kind of industrialization of death has never happened and the person so that is one of the reasons why one should not forget that and more than anything else one should try and keep these arrows from ruth being repeated. to margaret meissner these issues have gained in the sense of an agency in today's highly volatile political climate. there's a great deal of of nationalism all of a sudden and i feel very insecure or. in the present political situation certainly some of. some of the moves of the american government right now is very similar to what happened in germany in the nineteen twenty sentiment in thirty. so

as we open our program we're joined in the museum by the president and ceo of museum matthew naylor. you have a lot of resources to preserving the memory. why is it important for people in 2017 to know this story? >> i don't think you can think of the last 100 years, particularly in the united states, without understanding the impact of world war i. that's true of countries right across the globe. i'm an australian. i'm an american as well. for australia it's the defining moment rather than a moment of victory defining a national psyche for australia. it's a defeat. it defines who australians are. that's true of so many other places. it had such a profound impact on the reconstruction of world relationships of how countries were formed and that it's essential for our understanding of our current age. >> about ten minutes we will be going to telephone calls. this is an interactive program. we know many of you are professional or amateur historians in our audience. we'd love to have you as part of the conversation. we'll put our phone numbers and twitter handle on the screen. we'll get

a theme throughout the museum and the other nra museums is the role of firearms in american life from the earliest days up through today. how they have been an integral part of the founding and expansion and growth of this country and how they have just been a part of american life throughout history. we try to focus on that here. whenever we can put a face with a firearm, a gun that has been owned or used by a historical figure, we'd like to do that. in the to show firearms context they have been used. we are fortunate to have a number of guns that have been owned by presidents and their close associates and we will take a look at some of those right now. we will start out with the most recent one. this is a winchester model 21 shotgun. elegant andy popular and a well-made shotgun. you get a clue to the owner of this one when you look at the underside and you see the five stars there of a five-star general and you see the initials -- d.d.e. this was a gun presented to dwight david eisenhower and was one of his favorite guns. there is a fun story about this gun in our museum. our seni

metropolitan museum of arts, number one. and most of the smithsonian and other museums are behind us right now. but what goes up comes down, but the good news is that people are interested in history. and we have conferences and symposiums, and you wouldn't believe it. conferences have 500, 600 people. these are not mostly historians. they're enthusiasts who want good history. they're from 8:00 to 6:00 in the evening with breaks for authors to talk with authors and sign books. so they're there because we're making history relevant and interesting to them. and we're also thinking about outreach and how to get the word out. so we founded a new institute for the study of war and democracy, which has 12 historians in it, half with ph.d.s and developing content, overseeing our exhibits and our conferences, and a world war ii media and education center that, once we're finished with the physical expansion, we'll go beyond the walls. jason, let's turn to you and get your responses on this. >> i'll try this microphone if that's okay

the national world war i museum and memorial in kansas city, missouri has more than 300,000 artifacts. next, we learn about several items in the collection from lora vogt, the museum's education curator. >> hello, we are here in the main gallery at the very beginning of the story. on june 28, 1914, archduke frantz ferdinand and his wife, ,o the check -- sophie cho tech were assassinated. years, thisf four employee all inhabited allinents -- embroiled inhabited continents and over 30 nations into a war that would claim millions of lives. here, in this case, we see what men may have been sent to war in and with. you will notice that these beautiful, handcrafted pieces have such detail, looking at the different swords and the like. and yet, when you think what these infantrymen who were provided swords would later be going up against machine guns, it is easy to see how death tolls raised to the extraordinary and unfathomable numbers that they did. 1914, the beginning declarations of war were declared. france, and we do here and entry -- we have an infantrymen's uniform from august 1914,

museums. -- at museums. there is a marvelous speaker series coming up this winter. you want to check those dates on your way out. my students for almost three decades in the classroom --i always start off by telling my students there is more we do not know about history and what we do know. we are going to play protected this semester. --play detective this semester. all the witnesses have been dead for centuries. this is a real challenge. but uncovering these hidden tidbits of history is something i quite passionate about. even though we think we know a lot about history, there are still stories waiting to be told. most any american school kid can tell us about paul revere's midnight ride. thanks to the wordsworth longfellow home. -- poem. but notgreat poem good history. most schoolkids can tell us about the boston tea party but no textbook mentions the single bloodiest battle of the entire revolutionary war. that battle was not saratoga brandywine, not that battle was fought 100 yards off because of brookl

the museum was closed for 22 months. but it gave us the opportunity to restore the roundhouse to the appearance of when it was constructed. really do some great things around the museum to make it a better place and enhance the visitor experience. some of it came from insurance money. some of it came from the state and federal government. some of it came from private donors. we have letters from small children where they take orders, -- taped nickels, dimes, pennies to donate to the museum because they had such a great feeling about to the museum, they wanted -- about the museum, they wanted to see it come back. during that time we were able to really look at how it had come together. one thing we discovered was that it was mis-numbered. it represented another piece that had a different wheel arrangement that wasn't what it was supposed to be. the second thing is, we realize the color scheme we had on the locomotive was wrong. what we were able to do and investigate was we were able to return it to what it looked like wh

as you can tell as you walk around this museum, it is unlike most museums. this museum tells the revolution from multiple perspectives and multiple experiences. that of the first americans, that of slaves, that of children . this is unusual for the traditional museum and i am a museum rat. michael does a extraordinary job. let me encourage you -- there is a speaker series coming up this winter. they have top historians coming in. you want to check those dates on your way out. you do not want to miss them. my students, for almost three decades now, and every class i start off by telling my students, there is more we do not know about history than we do know. we're going to play detective if you will. the only difference is, it is tough to be a detective, but for us, all of the eyewitnesses at the crime scene have been dead. this is a challenge but uncovering these hidden tidbits from history is something i am passionate about. even though we believe we know a lot about history, there are still stories waiting to be told. for instance, almost any american scho

the museum's been collecting since 1920, and we're very selective anymore about donations to the museum. we get about 99% of our collection through donations from people all over the world, because we do collect all of the belligerent nations. and the best way to find out what we're looking for and how to donate is to go to our website and look under "donating an object," afterward that will give our contact information and people can contact me or the museum archivist for archival material. and then we can go from there. but we do ask that people contact us first. walk-ins with materials is a little difficult because we're not always available to look at them, but we are looking for specific things, and we do have that on our website. >> doran cart, thank you very much. >> thank you. >> you're watching live with us as c-span visits the national world war i museum in kansas city, missouri. we're spending 2 1/2 hours here on this saturday morning on the week of the centennial of the u.s. entry into world war i. our guest is mitchell yockelson, who is a world war i historian, and his late

here is our recent interview with one of the curators there at the museum. damian: it's called "teotihuacan: city of water, city of fire," the new exhibition at the de young museum in san francisco. with me on "comunidad del valle" is raquel garcia del real to fill us in. boy, you sent us some very fascinating pictures and images. describe what you're doing to take us to teotihuacan in at the de young. raquel garcia del real: yeah, so this exhibition is really, really unique. it's about over 20 years of collaboration with mexican government and el inah, which is the national institute for anthropology and history. and what we have for you at the museum is over 200 artifacts, many of them recently excavated, new findings, so stuff you have never seen before from this city of teotihuacan, which is a city that is in central mexico and it predates the aztecs. this city was flourishing around the year 400 common era. and we have beautiful murals from them, we have objects made up of obsidian, seashell, jade. and this exhibition is really good 'cause it's really s

next, we learned about several items in the collection from the museum's curator. vote.lo, my name is laura i work here in the main gallery at the very beginning of the story. a man and 8, 1914, his wife were assassinated in the streets of syria go. -- archibald ferdinand and his sophie, were assassinated in the streets of syria go -- sarajevo. escalated into a war that would claim hundreds of thousands of lives. , youwe see in this case will notice these beautiful, handcrafted pieces have such looking at the different swords and the like. and yet, when you think these infantrymen who were provided swords would later be going up against machine guns, it's easy how they died in the unfathomable numbers they did. in august of 1914, the beginning declarations of war were declared. between several nations, including france, and we see here and infantrymen's uniform from 1914 with the beautiful red trousers, the well-crafted navy thoseeven the details on buttons are absolutely beautiful. now, when you think about heading into war, one of the last things you want to do i

and when the founders of the museum opened it, it was virginia's first museum and first monument to a writer. not to a military, political leader but to a writer. and it showed that virginians cared about the words and the power of imagination to shape our destinies. this is edgar alan poe's boyhood bed. this is where the future poet used to dream dreams that no one ever dared to dream before. and it's been passed down from his foster feerather to his business partner until it came to the poe museum. the pieces of furniture in our collection had those kinds of stories, that chain of ownership, that leads them here so question verify what they are. but we also have chairs from his boyhood home including this piece. so this is the up holt hols stla would have been on there in poe's day. we also have heart work, including this painting of the holy family from the alan mansion. and life portraits of john and francis allen. there's only one other known portion of john allen dunn from life and that's been lost and only one other portrait of fran disallen dunn for life and that's been lott o

the museum's collection consists of more than just railroad cars. we have weapons in the collection. the two behind me are significant and would be widely recognized by many people. directly behind me is the stagecoach from the national stagecoach line. if you were traveling in the early 1900s, just like today, you would not take just one mode of transportation. if you are heading west, you would probably take a stagecoach. vehicles like this were all up and down the road from cumberland two points west. very important to vehicles. you could fit nine people inside the stagecoach. if you read early travel accounts, from baltimore further was not that far in terms of mileage, but people would be exhausted. it took half a day to day. i would wonder why. but when you think about the rough road and high speeds and the way the wagons were shaking, it makes for a bad experience. people were holding on for their lives so they would not hit their head on the top of this stagecoach. there were three classes of travel and it all relates to what happens if the

where your dish seat was at ground level you don't see the museum because it's an underground museum of me to meet with take people down ten eleven meters underground and the world up there has nothing to do with the one you find down here. to ft. every room holds a site specific installation specially designed for the museum deep within the cooling and storage cellars of the former brewery installations evoke different moods works by twelve a claim to light artists are on permanent display one of the highlights of the tunnel of tears by a british artist keeps on you. just see these in all the selected this room because when there's a lot of rainfall groundwater collects here. and keeps only works a lot was mira's he didn't have to bring in any because the water functions as a mirror here from here all spiegel. in the museum can only be visited when you sign up for a guided tour many of them here more than once photographers in particular enjoy finding new motifs in the rooms of these was a pick two three my love of this installation and i really look forward to the opportunity to ta

your interest or the museum's interest? >> as i understood it, he was an appraiser standing in the middle. that's what he said. that he could not over-estimate or underestimate the value of it. >> russ comes up with an offer to buy most of the contents of the case. $87,500. now it's ed who thinks he's struck gold. >> i thought, "wow, $87,500 is a lot of money to me." >> did it look fair? >> seemed fair to me. it was more money than i'd ever gotten in my life. ed happily accepts pritchard's offer and a check, and signs away the items. pritchard immediately departs with the pickett artifacts. but general pickett's great-great grandson is in for the shock of his life, when he finds out what eventually happens to his family heirlooms. >> it was all lies. he just lied to me completely. >> that's next. >> but first, our "strange inheritance" quiz question. the answer in a moment. 's the p! anyone ever have occasional constipation, diarrhea, gas or bloating? she does. help defend against those digestive issues. take phillips' colo