and bergman things are very collectible. - yes. - this is-- has got all that appeal, it's got real sexappeal in my view. well, i think there are many people who would like something like this-- the vibrancy, the sheer delight of it. and a conservative estimate for this would be somewhere in the region of £1,200 to 1,500. really? gosh. that's a bit more than £100, isn't it? yes. my husband thought it was the top of a walking stick. - what do you think it's made of? - i don't know. horn, a horn of some kind. you're right. it is a horn. that's absolutely spot-on. it looks a bit like plastic, doesn't it? but it is horn. this is actually inlaid in ivory, those pieces and stained. and it's in the form of a cicada, i think. and it's japanese. and it dates from probably the middle of the 19th century. and those two holes are the clue as to what it is. it's actually a netsuke. it's worn at the waistband like that. i think it's a very unusual and rare object. i think you wouldn't have much trouble getting around £1,000 for it. good heavens. - bit of a shock? - good heavens. well, it is a big sho

lowell bergman the guy from 60 minutes and front line was an underground journalist in this period in san diego and later, you know, some guy affiliated with the minute men, this right wing men was involved in this and they had help from the police. the fbi was heavily involved in the underground papers and they kept data on their publishers and their printers. here in san francisco, there's an fbi memo surfaced where this bureau functionary had the idea, you know, that a lot of these underground papers were getting advertisements from large record companies like columbia and capital and whatnot and he suggested that these companies should be approached and told not to advertise in the underground press and very suddenly the bottom dropped out from a lot of these papers and they started adding with "rolling stone" magazine which is interesting it was not an underground newspaper. but rolling stone would stick to the apolitical elements of the rebellion but it was critical of new left militants and the weather underground and the yippies and a lot of that. and they drew a lot of record

but early on, i was influenced, i think, by filmmakers like luis bunuel and fellini and ingmar bergman. you know, back in the '60s, i was a teenager going to art school-- the late '60s. and so this was-- these were the people who were influencing me-- as well as marcel duchamp and others. is there a--an impulse, when you've-- when you find a reaction in what is-- what some people view as--as shocking, and you didn't intend to shock, is there an impulse to replicate that or to avoid it? you know, basically, i do both but not intentionally. i'm aware that when i go in the studio when i do my work, you know, it comes from within. i forget about the critics, the audience, the fans, the detractors, the collectors. i forget about everything, everyone, you know, and i just listen to what is inside of me that i need to do. you do that when you work, but a lot of the controversy of your work stems from the titles that you give the work. so if someone were to have seen piss christ or see any of the works-- "piss satan," or any of the other works that you've made-- without a title, they wouldn't

you will see how to open your court, a local organizations, a glossary we are working on out of the bergman center. that is one area we talk about. we have they meet the court officials, the history of the court which give you some of the background. for example there is talk about the court, the judge, other people who are in the courts. we have questions, why did you agree to have it open? we of questions, what role does the court play, ask the clerk. we talked to the assistant clerk. the head of probation, we talked to. we're some understanding. we have work to do but that is actually part of our mission as much as the stream. >> there was a debate to archive or not to archive. what were the objections? >> if you take all look at our site -- it is handy that i have it -- let me go to it for a second. i need to bring it up a little higher. we have an ongoing blog that covers us covering ourselves. [laughter] it is a very meta experience. the archive issue is a very complicated one. there were a lot of conversations how we would archive and when we would archive and what we would are cut.

according to a recent report by a respected counter-terrorism experts peter bergman, quote, the american melting pot has not provided a fire wall against radicalization of american citizens and residents. it has loathe us into a sense of complacency that homegrown terrorism could happen in the united states. they went on to say by not taking it more urgently and seriously the radicalization and recruitment that was actually occurring in the u.s. authorities failed to comprehend this was not an isolated phenomenon. it indicated the possibility that even an embryonic radicalization and recruitment infrastructure had been established in the u.s. homeland. considers the following individuals radicalized in virginia or i would even say in northern virginia. in october of 2010 farouq ammad was arrested for plotting attacks on the washington metro system targeting stations to kill as many people as possible. in july of 2010 zachary chester, graduate of oakland high school was arrested in new york on his way to join al shabaab in somalia. he pled guilty to charges of providing material support t

it includes curt anderson, paul bergman and walter mostly. the baltimore book festival starts september 23rd. also on the 23rd, st. augustine, florida, will host the florida heritage book festival. tell us about book fairs and festivals in your area. we'll add them to our list. e-mail, booktv.org. ♪ . ♪ . ♪ . ♪ . >> host: ann coulter, who is pg wod house. and why is he a influence for you. >> i'm reading him this summer. i have to sweeten the book tour, going out with my friend, constantly, which is why l.a., by the way is a fantastic place to be on book tour. i usually go there two weeks after the book comes out. with the time change, i'm done at 7:00 every night. in any event. pg woodhouse is very fun any british writer. i read all of his books once, at least twice. they put you in a great mood. they he is very funny. >> host: one of your favorite authors. joe sobran. >> guest: yes and a friend of mine. he passed away, i remember i found out i was out in l.a.. >> host: about a year or so ago. >> guest: about a year. a little more than a yea

finally we want to do a better job chronicling journalism and working with the bergman center, hopefully ben's organization to start publishing our experiences and sharing what we have learned with other people through the case study law. and create some sort of judiciary resources center where we can take what we have learned in help propagate it around the country. with the end of those remarks, i wanted to check one more time to see if we are live just to prove that i am not making this up. [laughter] let's just see. ah, you know what? i'm going to click it for kicks. we will see if we can find something going on. that is the end of my prepared remarks. >> any questions for john? [inaudible] >> it is that angle. i will go back and show it to you. it is a fixed camera. your question really is, let's say there is a disruption in the court. we did not give up our journalistic credibility and agree to not move the camera if necessary. with two journalists in the court wants, our job is to see what the public sees. if there's somebody seated in court, we are not considered locked down to t