people saw them originally. now, remember, we don't have newspapers that can do pictures. so what they wou dwas they would take pictures and turn them into woodcuts. that's ou s here. so when.eekly. i assessed these, i went through this process and i was stunned, like the editor, jim martin, of the volume i wrote in, he didn't believe me actually. and jim has known me since graduate school that all of the images we see of dead bodies. are or. all of them were the wor images they've shown. ansohis is obviously a young person whose guts have been blown out and it would have been in 3d. now what you mostly remember and i'm goi ttalk about is the photographic history of the war, which places them. it was originally in 1911 redone at the centennial 1958, and in 1987, and that flattened them because you don't see that and there's no reference to it. and what you'll see is it's very much homage to the blue and the. and not about. this is a terrible war. it's all the valiant men. and i'll discuss that happened. so it began decades before civil war, actually in the forties. you saw your first stereo views. manhattan was the first subject. oliver wendell senior, who lo

people. but the emphasis similar is on the inhumanity of enslavement. 's on the contradictions with american ideals. political ideals, and in this ca, the ides christianity as well. so garrison's newspaper, the betor, it's tmaexample, but there were quite a few more. there were around 44 zero different abolitionist newspaper before this. in the decades leading up to the civil war. and all of them were working towards that same goal, really, of slavery as quickly as possible, because they have different ideas about exactly how to do that. exactly what the problems are, which part of the problem to address first. but i'll kind of throwing in the same direction most of these newspapers were edited. white men like william lloyd garrison and benjamin lundy. his picture i showed you before, but most of these newspapers actually relied on black subscribers to make to make enough money to survive. and there were many black writers who contributed articles even to newspapers like the liberator. there were for the pioneering black woman abolition act. maria stewart she was a to the liberator as there were also african-american editors. so there were about 20 different black editors at newspapers

people, 'cause i don't give a s**t about a possession charge. i'm a murder police. i'm here about the bodies. - david simon was a newspapermicide unit to write a book. he and ed burns, who was a police officer, got together and said, "well, what if we tell "the whole story of the death of the american city, "the futility of the war on drugs, through the eyes of cops"... - bang! - [laughing] - "of drug dealers"... - y'all got the best territory and no kind of product. i got the best product, but could stand a little more territory. - "of teachers, of politicians-- just make the entire city into the character itself?" - you follow drugs, you get drug addicts and drug dealers. but you start to follow the money, and you don't know where the [bleep] it's gonna take you. - "the wire" broke down systemic racism and the cycle of poverty like no other television show had. - come on. get up. it's a school day. y'all are gonna be late. - it wasn't just about, hey, look at these black kids chilling drugs on the street. you were in the apartment with them where they had no parents, where they were taking care of their siblings, where