this smithsonian has been spending about 1% annually. given the disparity, the smithsonian estimates that the backlog will grow by 232% during the decade. the smithsonian has facilities and collections in areas that may be affected by flooding, storm surge, and rising sea levels. in 2014, the smithsonian released a statement that identifies ways that it will respond to climate change. such as by protecting its core access and operating its facilities and programs in a sustainable manner. this year, the smithsonian issued its first annual climate change action plan. the plan identifies ongoing and branch projects to reduce the impact of flooding in vulnerable areas on the national mall in new york city. it also notes that the smithsonian needs to update its owner ability assessment related to flooding based on the latest national assessment. finally, they identified the challenges the smithsonian faces is -- in mont -- in maintaining ongoing resources for flood protection. such as the development of two new museums. and a major music -- r

the site of 11 smithsonian museums. rising sea levels will eventually push water from the potomac river and submerge sections of the national mall. let me put that in context. last week, many americans visited the world war ii memorial to commemorate the ats anniversary of -- 80th anniversary of pearl harbor and to commemorate bob dole, war veteran who was gravely wounded in combat and later played a key role in establishing the memorial. you may recall seeing, just steps away, a stone wall built into the national mall which extends into the slope below the national monument. that wall is not simply an architectural feature, it is a levy -- levee. when the city of washington was settled, the second largest creek met the potomac near today's world war ii memorial. the map provided to george washington in 1793 shows that at that time to get from the white house to where the washington monument stands, you needed a boat. today, the water that used to run on the surface flows through underground sewers through much of the c

the smithsonian secretary for education.ible for defining institutional next educational priorities she oversees the smithsonian collective initiatives, communication strategies and funding for programs that benefit learners of all ages. it brings many years of public education and experience to cthe smithsonian, for joining us in june she served as vice president for education policy of strategic initiatives at the americanch institute for research. please join me in welcoming monique chisholm. [applause] >> good evening and thank you for that wonderful introduction. i would like to start off tonight's event by first offering in acknowledgment. i like to acknowledge the native people his ancestral heritage would gather as well as a diverse communities who make their home in washington d.c. and for all of those streaming to acknowledge the land were coming to us from. i am so excited and pleased about tonight's event. personally and also as a secretary of education. as you heard this a special evening for us we are doing in

been at the cook core of the smithsonian mission sensor 175 your founding. in fact the spirit and purpose of the programming you will have tonight the smithsonian associates have been doing for 55 years through high-quality in-person programming. we are happy tonight. we are particularly excited about this event because we have two fabulous people pretty properly the singular occasion spotlights associate justice steven breyer and also cnn legal analyst joan. let me first start by introducing justice breyer. the smithsonian has a long and valued connection by tradition the chief justice a member of the board of regents. our collections encompass countless holdings that help us tell the story of the courts vital role in shaping our democracy. ruth bader ginsburg, o'connor, san antonia have all taken part in a memorable event. and justice breyer joins that esteemed list in 2016. we are honored to invite him back. justice breyer, as you probably know, has a long history as a legal educator and a continuing affiliation with harvard university. in fact the book t

. >> the idea for the title came to me when i b was approached by smithsonian magazine went really i don't want to write an article about anne frank. that sounds like the last thingut i ever want to do the first line of the smithsonian was the opening essay in the book, people love dead jews living jews not so much. >> the title of the book is a punch me up to the gods. is something my father used to say to me when he would catch me doing something that was not masculine like writing for instancece. the title is somewhat of a challenge punch me i'm going to come back. >> are distant really creative editor the journey. it helps propel people's lives all across the nation for. >> is a term that refers to the thin branched that covers the spotting of lightning strike survivors the pathha that strikes. taking the three shocks to the heart i felt marked but invisibly i did not know what the inside of my body look like i think there are a lot of ways we do not know actually what people's bodies look like in the world as a result of the medical system and within the american medical system.

this is the very first time we've been back in person at the smithsonian. i have to say we have the added bonus this is justice buyers first in person washington d.c. he couldn't say in the world he was up at the 92nd street we have extra special things you also something even better because today was the first time that the press and the eight justices minus justice kavanaugh were in the courtroom for oral arguments. they had not been to gather on the bench to hear a case since march 4, 2020. this was quite a big day. joanne breyer was there watching justice kennedy the retired justice kennedy roberts was there how do i feel to you? what was it like for you? and everybody here. second to your question how did it feel? it felt better. [laughter] clicks it if you like business as usual to just feel you were able to get more out of the case? >> it's organized we had to tell that you know a telephone, i would do it in turn. the virtue ... that is minute we each have a turn of two or three minutes as you focus on your question and you focus on the answer. and t

. >> my book is called the idea for the title came to me when i was approached by smithsonian magazine to write an article about anne frank. while i really do not want to write an article about anne frank that sounds like the last thing i ever want to do. the first line is the smithsonian is the opening at the end of the book is people love dead jews, living jews not so much. their book sort of takes that idea and runs with it. >> punch me up to the gods is something my father used to say when my father would catch me doing something that was not masculine like writing for instance. and so it's kind of like a challenge. go ahead, punch me i'm going to come back. >> all that she carried journey of a keepsake. >> is a thinned blanche burns that cover the body of a lightning strike survivors. the path electricity takes to the body following water. my book opens with the night i took three accidental sharks to the heart for my defibrillator taken those three shocks to the heart feels marked and visibly i did not know the inside of my body could have looked like i think there a lot of ways

[inaudible] the idea for the title came to me when i was approached by the smithsonian magazine to write an article about anne frank. i really did not want to write an article about anne frank. the last thing i really want to do. living jews, not so much. you know, taking that idea and running with it. >> something that my father used to say when he would catch me doing something that was not masculine, like writing, for instance. kind of like a challenge. go ahead. i will come back. >> all that she carried. the journey of a black woman keepsake. because at the center of the story and how the survival caused issues. >> a term that covers the body of lightning strike survivors. my book opens with the night that i took three accidental shocks to the heart from my defibrillator. i felt marked physically. i did not know what the inside of my body could look like you'd i hate that there are a lot of ways that we do not know what people's bodies look like as a result. and what is in the american medical system itself. so, lightning scars. >> that is so exciting and a great honor to be consider

the idea of the title came to me when i was approached by smithsonian magazine to write an article about ann frank, and i was like i really don't want to write an article about ann frank. the opening essay in the book is people love dead jews, living jews not so much. the book sort of takes that idea and runs with it. >> the title of the book is [inaudible]. it is something that my father used to say to me when he would catch me doing something that wasn't masculine, like writing, for instance. so the title is kind of like a challenge, go ahead, punch me up to god. i'm going to come back the same. >> i titled it after some really creative brainstorming with my editor because the fact that the center of the story, it helps to propel these women's lives and helps their survival across the generations. >> it's a term that refers to the path that electricity takes through the body following water. my book opens with the night that i took three accidental shocks to the heart from my implanted cardiac defibrillator. taking those three shocks to the heart, i felt marked but invisibly, and i did

so until this past march the smithsonian museum and african-american museum for history and culture. but it is a national historic landmark but with the plantation but the foundation is the owner of the fact into the smithsonian. and then to visit charleston international african-american. this has taken so many twists and turns in the pivotal movement and acceptable moment looking through bins in tennessee and to come across. and then for $20. and then to be discovered is not at all what it seems. because in fact even more compelling have enslaved women's lives or craftwork or black families or inheritances. things are passed down it is a common family practice and one i have been fortunate enough to engage in as well so books and photographs from parents and grandparents. but with that condition it is that difference that we feel very familiar that draws our focus to see the wealth because in this case a black mother with no financial assets of the enslaved woman in charleston in the 18 fifties so in that moment that we can scarcely imagine that there is a variety of items. and the

so's past march, at the smithsonian museum in the african-american history museum for culture. currently ms. the plantation with it charleston lobbyist. the plantation is operated by the foundation which the owner i and was given to the smithsonian. with the charleston international african-american. this has taken so many twists and so many turns that varying sites in our country. when pivotal moments of the facts of history took place working through bins in tennessee and was came across the sac which is being sold with other rags for the price of around $20. she bought it and later discovered that it was not at all what it seemed. because in fact even more compelling are the many stories about enslaved black women's lives, black women's estextile or craftwork, about black families, and inheritances. it's often passed down from previous intonations. that brings to mind lost loved ones. it's the practice and one i have been fortunate enough to engage in as well. as a member with my mother and my grandmother. i think you hold back clothing you received of my mother's. in keepin

with the smithsonian when they botch that exhibit in 1995. it is one historians who said to them you are screwing this thing up badly. you need to discuss airpower before world war ii otherwise you're going to look like fools and they did. life is tough that way. you've got to have a handle on what people are thinking. not just what is going on in the museum. it also consulted for the national museum of history and culture in the world war i exhibit which is probably my primary focus. in one of the things that you have to deal with often is some very touchy subjects. i have positively enjoyed my time consulting here because, nick and the staff we have people who are historians and understand what we are about. and so, a number of years ago i was a cochair of a committee that created a traveling exhibit fighting for the right to fight. it has been around the country. it was here for a time and it is coming back. i think the museum has plans in the future to update it. that is one of the reasons i stick with the museum. the museum is not conten

officials at the smithsonian museum of american history told us that all future exhibitions will have signage. this one, says salazar-porzio, can help lead the way. >> it shouldn't be so transformative, but for our institution, it is! you know, to have a fully bilingual show, that was planned to be so from the very beginning. to have, you know, the fundamental premise of it be that latinos have changed, you know, this quintessential american sport-- that is a transformative moment. >> brown: the exhibition," pleibol!," is on in washington for the coming year. a smaller traveling version is in select cities around the country. for the pbs newshour, i'm jeffrey brown, at the smithsonian museum of american history in washington, d.c. >> woodruff: and now to the story of a song called "spaces." it's one made by, and for, the disabled community. while the song highlights a disease known as spinal muscular atrophy or s.m.a., it also celebrates the talent of the much broader disability community. it's part of our arts and culture series, canvas. >> i have spinal muscular atrophy type 3. it p

the smithsonian has unveiled the future exhibit at the arts and industries building. it may not be a future any of us care to visit. according to just the news, one kiosk asks visitors when there might be a single global government, you can choose between 10 years to never. my question is why would an american institute funded by taxpayers suggest that a one world government is ever an acceptable vision for the future, who would plant that idea in the minds of tourists, children and visitors? it is crazy. laura: to george soros for the exhibit? brought to you by the kids behind the great reset? is that what it says? >> i will explain who funded it in just a second. this is a new genderless voice assistant, this is at the smithsonian, for your phone. you can make the voice more feminine or more masculine depending on your preference. >> i am the world's first genderless voice assistant, think of me like. or alexa but neither male or female. i'm created for a future where we are no longer defined by gender but rather how we define ourselves. raymond: just what we need,

smithsonian, when they bought that exhibit, in 1995. it had been one of the historians who had said to them, is screwing up, badly, to discuss in our power, before world war ii. otherwise, we're going to look like fools, and they did. life is tough, that way. it is a handle on what people are thinking, outside. not just what's going on in the museum. they've also consulted in the national museum of african history and culture, and a world war i exhibit, which, is probably, my primary focus. one of the things that you have to deal with, in very touchy subjects, and they have positively enjoyed of my time consulting, here. it is an equivalent, in the stands, and our historians, and understand what we are about. so, a number of years ago, i was co-chair of committee that created the travel in the exhibit, fighting for the right to fight. it is coming back, and it is i think the museum's plans in the future to update it. that is one of the reasons why i stick with the museum, because the museum was not content with stasis. it believes and m

his work is now included in the collections of the smithsonian museum of american history, the smithsonianm of american art, thee national portrait gallery, and the library of congress. he also published a book by that name "puerto rican diaspora." and so his photographs hung on the walls of our apartment in the linden projects of east new york, brooklyn, from earliest memory, which means they're also hung on the walls of my imagination. and i was able to see from earliest memory and earliest imagination from my youth, the nexus between art and activism, the nexus between craft and commitment. to me, it was all one. i thought everybody did it this way. and so my father, although he was a photographer, had a great influence on me as a poet and as a poet of political commitment, a poet of the political imagination. well, all this came ba for me when hurricane maria struck the island of puerto rico four years ago. we just marked the fourth anniversary of hurricane maria. and my father, of course, was already gone. and yet i couldn't help thinking about him. why? because suddenly i saw his hom

grant is sitting in this picture is i believe in a museum and i believe grant's table is at the smithsonian may be. and this is colonel parker's table which i think captain bowers sat at for a while and he did a story where bowers was supposed to ride out the terms, my head is shaking, i can't do it. but then bowers in other artwork sitting at that table but ultimately it was parker, the man with the writing hand that sat down at the table and you see it in the background and there are two ledgers, it would probably be easier for us to just go ahead and take a look at the table itself which does exist. it is the only table that is not in a public institution. it is in private hands. as -- at a time not long ago, if years ago it was consigned for sale and we had the opportunity, the honor of representing the owner and got delivered to abraham lincoln's bookshop for some time and so there it is. the parker table. we don't have it, don't come asking us for it but it is definitely the third table and it still exists like everything else. it was taken because they knew it was a legendary moment.

the timing it is a bout it definitely at the smithsonian museum of american history and customer and there are also. >> we also have a connection. >> and the well didn't sheridan go to customer and isn't that weird. the room right. >> and back in the parlor and sherman like didn't want to sell and like we were dollars on the ground and he said i'm taking this. [inaudible]. that is one of the many stories that i have heard and the latest on the shadows and the program and ion enjoyed in the book nex, the professor caroline janney n and we will get to that and it that is from. [inaudible]. >> that is what we have now and will turn it in before we sign off animal to get back on the road to this time and it is interesting time on the road. and it this is something that is really interesting in the way that you talk about in the book so you start of the lookout and suddenly the story of the post daysto and other places in the people there's of noe longer confederate soldiers so what is happening in places like virginia that you talk about and this is the place where laminate come into thi

that is john willened has chimed in to say the table used by general grant is definitely at the smithsonian national museum of american history. it was a gift of libby custer. >> that's right. >> the chairs are there also. and john is --. so that's our citation. >> i forgot the libby custer connection. very good. >> yes. and the -- yeah, didn't -- didn't sheridan give it to custer to give it to libby? >> right. >> isn't that weird. >> but custer was not in the room despite -- >> right. custer was not in the room. right. i and -- we're back in the parlor. wasn't there a story shared, mcclain didn't want to sell his furniture and sheridan throw like twenty dollars on the ground and either keep the money or don't. i'm taking the furniture. that is bust one of the many stories i heard. shout outs. thanks for the program. i enjoyed the book. what's up next in terms of book projects? that we'll get to that. but he says go wahoos and that is from hampton -- >> oh. >> -- lots of great stuff. that's what we have here now and i'm check in again before we sign off. but i want to get back on the road b

take you live to a house administration committee hearing on climate change and its effects on the smithsoniannstitute collections. you are watching live coverage. >> you need to step away for a moment, that is what the rules require. of course, we remind members you cannot participate in one committee meeting at the same time. i ask unanimous consent of all members --

tina thank you for joining us, i'm at the smithsonian institute and. [inaudible]. the korean war, the forgotten poor braided predict and many of you know, lives and on relies ee membership support. [inaudible]. and my associates, will, and am going to explore the wide range of programs that we offer and remember to support our work in bringing in hundreds of experiences every year freed you find out about those events and more our website. and on facebook instagram and twitter. and also the chat rooms which brings me to the next order of business. our speaker this evening and wanted quickly point out the virtual experiences and bring your attention to the chat box in the toolbar this is where the information it throughout the program. also the q&a box where we would draw questions from hauling the presentation. we encourage you to submit your questions throughout the presentation it and says run about two hours. and i've also noticed this has closed captioning which you can choose to hide it by clicking close captioning on the toolbar infusing a tablet or smart pho

i believe grant's table that chapel has lee sitting at is at the smithsonian maybe. >> that is whereelieve it is. >> this leaves colonel parker's table. which i think captain bowers sat at for a while because i think there is a story where bowers was supposed to write out the terms and he said my hand is shaking. i can't do it. >> you are right. yes, yes. >> so i've seen bowers in other art work at that table but ultimately it was parker the man with the strongest hand, strongest writing hand on grant's staff that sat down at that table and you can see it in the background. there is -- you can see the legs, two ledges and it would probably be easier for us to just go ahead and take a look at the table itself which does exist. it is the only table from wilmer mclean's parlor that is in private hands and at a time not too long ago a few years ago it was con signed for sale, perhaps out on the market. it was out on the market and we had the opportunity, the honor, of representing that owner and so that table got to live in abraham lincoln book shop for sometime. there is the parker tabl

in 2017, american history tv tour to the newly opened at smithsonian national museum of african-american history and culture in washington dc. here's a look at one of their exhibits. t-mac we are fortunate enough that we were able to receive a call from the historic preservation society that wanted to donate a slave cabin to our museum and they knew that we were looking for a slave the cabin really help tell the story in a powerful way and partially, they had one from the plantation located on the island in south carolina. what is really powerful about this cabin is on the front side, we actually interpret looking at slavery and on the backside, we interpret it looking at freedom and because impact on the island, that is where the union army camped out during the period of the civil war and you see where the land is given to the african-american community and taken away several times.

here in washington, the smithsonian announced it will close several museums until january 3rd due to the increase in infections among staff. debra alfarone, cbs news, the white house. >>> we are now in the seventh straight day of holiday travel chaos. yesterday alone more than 6,000 flights were delayed in and out of the u.s., and more than 1,000 were grounded. every major airport was affected. airlines say staffing shortages due to surging covid infections is largely to blame. one new york man told errol barnett he's stranded in seattle with his family after their flight to see his parents in colorado was canceled. >> we were hoping to get the family together for holidays in denver, and unfortunately that's not going to happen this year. >> reporter: and how do you and haur wife feel about that?e flights ve beecanceled every day since christmas eve. more than 900 flights are already grounded today with more delays and cancelations expected. >>> several states in the south are facing the possibility of severe storms packing high winds, hail, and the risk of tornadoes. a possible torn

in 2017 american history tv open smithsonian he is saved in men, women, children this really could be considered a pen. but african-american men, women, children who are resilient in holding onto humanity found to love one another, to practice their faith to grow gardens on the side of their cabins to supplement their diet into have new cultural practices. >> watched a full tour online@c-span.org/history. >> good evening everyone. the president and ceo and i am thrilled to welcome you to tonight's virtual presentation churchill today. there at the new york historical society election. i

well, the aquarium of the bay is california's only smithsonian-affiliated aquarium.credited by the association of zoos and aquariums, and it's celebrating its 25th anniversary. the visitors to the aquarium of the bay, pre-covid, we used to get anywhere from 500,000 to a million visitors. and they would experience what the san francisco bay was all about and the rich marine biodiversity that exists here and the habitat that needs to be protected. ♪ so, the aquariums are a little bit more than where we protect marine biodiversity. they are a lens into the health of the ocean. the oceans, as you know, are facing many challenges, everything from carbon sequestration to bleaching of the corals to ocean acidification to sea level rise to domoic acid to lead and pcp pollution. and the fish ingest many of these pollutants, and healthy oceans are healthy humans, so that correlation is really important. ♪ the nonprofit organization started about 40 years ago as a policy institute called the bay institute. and many years ago, the policy institute merged with the aquarium of the

the smithsonian's national air and space museum in washington dc is the perfect place to get the bigger picture of how the space it was developed. these basic spaces were ones big gara and glen war basically had the same function. they were there to keep erin in case of emergency on to keep particles out and to protect against any sort of radiation that those high levels of altitude space suits are not very comfortable things to where they're heavy, they're awkward, they're bulky. ah, they're constraining and getting those everything right for the astronaut is very important. so. so you've heard of my grandfather? yes. yes. and i've seen his signature on, on documents and materials love. yes, he sees very one that i think for me it's hard sometimes to understand exactly how you fit into everything. the process of designing the suit is enormously iterative . it started with propose suit designs and prototype suits that come from private corporations as a bid for a contract with nasa. and they work with with nasa and the crew systems division and the astronauts to decide what's good, what