WEBVTT 00:00.680 --> 00:04.510 align:start >> From the Library of Congress in Washington DC. 00:04.510 --> 00:22.630 align:start [silence] 00:22.630 --> 00:25.060 align:start >> PAM JACKSON: Good afternoon. 00:25.060 --> 00:26.560 align:start Welcome, I'm Pam Jackson. 00:26.560 --> 00:28.820 align:start I'm the Director of the Center for the Book. 00:28.820 --> 00:32.450 align:start We're here at the Library of Congress as part of the national 00:32.450 --> 00:34.240 align:start and international outreach unit. 00:34.240 --> 00:37.770 align:start And we welcome you here to this afternoon's book talk. 00:37.770 --> 00:41.810 align:start We're very excited to share our passion and interest 00:41.810 --> 00:45.020 align:start in promoting a culture of reading and literacy. 00:45.020 --> 00:48.560 align:start And today's book talk and today's author and our partnership 00:48.560 --> 00:50.790 align:start with the research reading room that we have 00:50.790 --> 00:53.000 align:start as a co-sponsor is really exciting for us. 00:53.000 --> 00:54.300 align:start So, thank you. 00:54.300 --> 00:56.930 align:start I'll start just with a little bit about the Library of Congress 00:56.930 --> 01:00.590 align:start that we are the nation's first cultural institution 01:00.590 --> 01:04.100 align:start and it's our mission to provide a very rich, diverse 01:04.100 --> 01:05.830 align:start and enduring source of knowledge. 01:05.830 --> 01:10.910 align:start And we do so with a particular purpose, which is to have the nation 01:10.910 --> 01:15.450 align:start and the world rely on our collections and the objects 01:15.450 --> 01:19.710 align:start and the books and the music and the movies and everything that we have 01:19.710 --> 01:23.110 align:start to stimulate and inspire intellectual creativity 01:23.110 --> 01:25.090 align:start and productivity. 01:25.090 --> 01:26.690 align:start And at the Center for the Book, 01:26.690 --> 01:28.750 align:start which includes the Young Readers Center and Poetry 01:28.750 --> 01:32.280 align:start and Literature Center, we are focused on promoting books 01:32.280 --> 01:36.950 align:start and libraries, reading and literacy, poetry and literature 01:36.950 --> 01:43.860 align:start for the purpose of engaging and supporting an informed society. 01:43.860 --> 01:47.250 align:start We like to talk about being the defenders of democracy 01:47.250 --> 01:52.690 align:start because we know that without literacy, democracies can't stand. 01:52.690 --> 01:56.210 align:start And we like to do so fulfilling on partnerships 01:56.210 --> 01:58.770 align:start with really exciting people and exciting books 01:58.770 --> 02:01.470 align:start and exciting authors, which we have today. 02:01.470 --> 02:06.130 align:start So, as part of our mission, we have affiliates around the country. 02:06.130 --> 02:08.450 align:start There's a Center for the Book in every state and the District 02:08.450 --> 02:10.820 align:start of Columbia and the Virgin Islands. 02:10.820 --> 02:15.120 align:start And we also have a network of partners promote reading 02:15.120 --> 02:18.970 align:start and literacy promotion, nonprofit organizations around the region, 02:18.970 --> 02:22.030 align:start who partner with us and affiliate with us in a variety 02:22.030 --> 02:23.870 align:start of programs and initiatives. 02:23.870 --> 02:28.410 align:start Finally, the Center for the Book is the administrator for the Library 02:28.410 --> 02:34.990 align:start of Congress literacy awards program, where we offer prizes in excess 02:34.990 --> 02:39.170 align:start of $200,000 to organizations to support 02:39.170 --> 02:42.650 align:start and empower their literacy promotion work. 02:42.650 --> 02:46.430 align:start And we do invite you today and those watching us at the webcast, 02:46.430 --> 02:51.740 align:start visit us at read.gov/literacyawards to learn more about that program, 02:51.740 --> 02:54.700 align:start because the applications are circulating now 02:54.700 --> 02:58.350 align:start and that period closes at the end of March. 02:58.350 --> 03:02.590 align:start But, to focus on what we're here for, 03:02.590 --> 03:05.020 align:start I mentioned that folks are watching online, 03:05.020 --> 03:08.390 align:start so we are webcasting today's event and we want to let you know 03:08.390 --> 03:12.150 align:start that if you're interacting in the Q&A portion of our talk 03:12.150 --> 03:15.570 align:start that you are being recorded and let you know 03:15.570 --> 03:17.500 align:start that you become a part of the webcast. 03:17.500 --> 03:19.980 align:start We also invite you at this time to just take a look and make sure 03:19.980 --> 03:24.330 align:start that your mobile devices are turned on to silent or vibrating. 03:24.330 --> 03:27.630 align:start And we also can remind you that or let you know 03:27.630 --> 03:32.720 align:start that read.gov is the place where you find more than 250 talks 03:32.720 --> 03:36.850 align:start and author experiences like this one that we're having today. 03:36.850 --> 03:41.700 align:start Finally, as one last housekeeping, today's author is available 03:41.700 --> 03:46.290 align:start for book signing and the books are available on sale outside the door, 03:46.290 --> 03:48.880 align:start so please make sure you take time to get your copy. 03:48.880 --> 03:55.210 align:start This is a really remarkable set of works and information 03:55.210 --> 03:58.890 align:start and presentation that I'm just really moved and inspired by. 03:58.890 --> 04:00.360 align:start So, thank you. 04:00.360 --> 04:05.750 align:start Now, the chief criterion for deciding about books and authors 04:05.750 --> 04:09.030 align:start for the Books & Beyond series that is hosted by the Center 04:09.030 --> 04:14.180 align:start for the Book is that we're focused on books that are authored 04:14.180 --> 04:18.510 align:start about the Library of Congress, published by the Library 04:18.510 --> 04:24.150 align:start of Congress, or sourced using the Library of Congress collections. 04:24.150 --> 04:28.270 align:start We care deeply that the public know what kind 04:28.270 --> 04:30.320 align:start of collections we have available, 04:30.320 --> 04:34.170 align:start what kind of rich resources people can create as a result 04:34.170 --> 04:36.880 align:start of spending time in our research and reading rooms. 04:36.880 --> 04:39.620 align:start And we definitely have that to share with you today. 04:39.620 --> 04:44.880 align:start So, today's talk I mentioned is co-sponsored and we have two, 04:44.880 --> 04:49.130 align:start the Daniel A.P. Murray Association here at the Library of Congress 04:49.130 --> 04:53.690 align:start and also the Prints & Photographs Division of the Library of Congress, 04:53.690 --> 04:55.750 align:start are our co-sponsors for today's talk and here 04:55.750 --> 04:59.430 align:start to introduce the author is Beverly Brannan and who's the curator 04:59.430 --> 05:03.970 align:start of photography in the Library's Prints & Photograph division. 05:03.970 --> 05:09.110 align:start Now her work in photojournalism began in 1974 when she was hired 05:09.110 --> 05:13.190 align:start to catalog the Look magazine photo collection over five million items. 05:13.190 --> 05:17.720 align:start She's co-curated Documenting America and the overview 05:17.720 --> 05:20.200 align:start of the Farm Security Administration collection. 05:20.200 --> 05:25.000 align:start That includes more than 170,000 photographs documenting the Great 05:25.000 --> 05:28.090 align:start Depression and America's entry into World War II. 05:28.090 --> 05:32.050 align:start Beverly has written about the FSA photographs 05:32.050 --> 05:33.640 align:start in both English and French. 05:33.640 --> 05:37.590 align:start And in 1995, she co-curated the Library exhibition, 05:37.590 --> 05:40.970 align:start "Women Come to the Front: Journalists, Photographers 05:40.970 --> 05:43.410 align:start and Broadcasters during World War II." 05:43.410 --> 05:45.440 align:start So, Beverly, I just like to acknowledge you 05:45.440 --> 05:49.400 align:start for your extraordinary, personal scholarship and creation is here 05:49.400 --> 05:52.500 align:start at the Library and with your works, and to acknowledge you 05:52.500 --> 05:55.360 align:start as a great partner to the Center for the Book 05:55.360 --> 05:59.670 align:start and an extraordinary visionary in the work that we do 05:59.670 --> 06:03.240 align:start in serving the public and promoting the Library's collections. 06:03.240 --> 06:04.540 align:start So, if you would join us 06:04.540 --> 06:06.270 align:start to introduce this author, I'd thank you very much. 06:06.270 --> 06:08.070 align:start Thank you for being here. 06:08.070 --> 06:17.910 align:start [applause] 06:17.910 --> 06:20.220 align:start >> BEVERLY BRANNAN: I feel honored. 06:20.220 --> 06:23.740 align:start The Library's documentation of racial issues 06:23.740 --> 06:26.650 align:start in the United States is so vast 06:26.650 --> 06:32.510 align:start that a single book can only suggest how extensive the record is. 06:32.510 --> 06:35.510 align:start Dr. Speltz's book, "North of Dixie: 06:35.510 --> 06:39.800 align:start Civil Rights Photography Beyond the South," presents a selection 06:39.800 --> 06:45.260 align:start of graphic images dating from the 1930s to the 1970s, with a reference 06:45.260 --> 06:52.850 align:start to 2014 to indicate that this is an ongoing situation in this country. 06:52.850 --> 06:57.920 align:start This presentation acquaints a new generation and reminds an older one 06:57.920 --> 07:00.710 align:start of this aspect of our past. 07:00.710 --> 07:05.810 align:start Dr. Speltz's writings provide context for the images. 07:05.810 --> 07:09.560 align:start A New York Times blurb for the cover of the book said that, 07:09.560 --> 07:14.530 align:start "Dr. Speltz's work is needed because standard histories have focused 07:14.530 --> 07:18.430 align:start on racial segregation in the South as though it did not exist 07:18.430 --> 07:21.560 align:start in other parts of the United States." 07:21.560 --> 07:25.870 align:start Also, journalism at the time failed to represent 07:25.870 --> 07:29.530 align:start that racism extended throughout the country 07:29.530 --> 07:32.850 align:start and that this book brings together some of the documentation 07:32.850 --> 07:38.020 align:start of the pervasiveness of racism in the entire nation. 07:38.020 --> 07:43.050 align:start Mark Speltz is an author and public historian who researches and writes 07:43.050 --> 07:46.080 align:start about the civil rights era photography, 07:46.080 --> 07:51.250 align:start vernacular architecture, and Wisconsin culture and history. 07:51.250 --> 07:57.130 align:start He's worked as a senior historian at American Girl in Madison, 07:57.130 --> 08:00.360 align:start Wisconsin for the past 17 years 08:00.360 --> 08:05.120 align:start and will be joining the Wells Fargo Family and Business History Center 08:05.120 --> 08:08.160 align:start in San Francisco next month. 08:08.160 --> 08:11.680 align:start This, his third book, "North of Dixie: 08:11.680 --> 08:16.100 align:start Civil Rights Photographs Beyond the South," was published 08:16.100 --> 08:21.990 align:start by the J. Paul Getty Museum in Los Angeles in November 2016. 08:21.990 --> 08:26.300 align:start His book credits some of the images to the Library of Congress 08:26.300 --> 08:28.180 align:start for which we are very pleased. 08:28.180 --> 08:30.510 align:start So, Dr. Speltz, please tell us more about your book. 08:30.510 --> 08:38.440 align:start [applause] 08:38.440 --> 08:40.890 align:start >> MARK SPELTZ: Hello everybody. 08:40.890 --> 08:42.450 align:start >> AUDIENCE: Good afternoon. 08:42.450 --> 08:44.720 align:start >> MARK SPELTZ: Good afternoon. 08:44.720 --> 08:47.000 align:start Thank you, Pam, for that lovely introduction. 08:47.000 --> 08:51.270 align:start Beverly, thank you so much for that and for all the work that you do 08:51.270 --> 08:55.850 align:start in helping the Prints & Photographs collection be a resource 08:55.850 --> 08:58.250 align:start for people like me. 08:58.250 --> 09:00.010 align:start Thank you, Guy and everybody on your team 09:00.010 --> 09:03.170 align:start for making this event part of Black History Month. 09:03.170 --> 09:06.980 align:start I'm really honored to be here and it's so nice to see you 09:06.980 --> 09:09.140 align:start and the crowd and a few familiar faces. 09:09.140 --> 09:11.950 align:start Thank you for coming. 09:11.950 --> 09:16.180 align:start I'm so excited to tell you about North of Dixie. 09:16.180 --> 09:22.680 align:start I worked on it for truly 10 years, but in the last four or five, 09:22.680 --> 09:25.380 align:start it's almost consumed my life. 09:25.380 --> 09:30.810 align:start So, to be able to share something with people is a wonderful feeling, 09:30.810 --> 09:32.350 align:start but I'm not going to read it to you. 09:32.350 --> 09:35.050 align:start I'm not going to show you every photograph. 09:35.050 --> 09:40.190 align:start I want you to pick it up and feel its weight and let your eyes linger 09:40.190 --> 09:45.310 align:start over the photographs and take in the meaning, read the quotes, 09:45.310 --> 09:48.740 align:start and I want you to think about civil rights photography a little bit 09:48.740 --> 09:51.480 align:start different after today and after reading the book. 09:51.480 --> 09:54.840 align:start So, I'm going to share some of my favorite photos, tell a few stories 09:54.840 --> 09:57.430 align:start about its development, highlight, of course, 09:57.430 --> 10:00.300 align:start the Library of Congress images in the book and the connections 10:00.300 --> 10:02.190 align:start and my research experience here. 10:02.190 --> 10:04.480 align:start And then we'll have plenty of time for questions 10:04.480 --> 10:09.920 align:start and a signing afterwards just outside at the door. 10:09.920 --> 10:13.150 align:start So, I've been deeply immersed in this world 10:13.150 --> 10:16.140 align:start of civil rights photography for over a decade. 10:16.140 --> 10:19.920 align:start And every conversation since then began with, "Why did you think 10:19.920 --> 10:23.080 align:start about civil rights in the North only? 10:23.080 --> 10:25.190 align:start Or why just north of Dixie?" 10:25.190 --> 10:29.840 align:start And it all started with these two photographs in 2007. 10:29.840 --> 10:33.590 align:start I was a graduate student in University of Wisconsin-Milwaukee 10:33.590 --> 10:36.380 align:start in a visual culture and photography class. 10:36.380 --> 10:41.960 align:start The assignment was, select a photograph and read it. 10:41.960 --> 10:43.660 align:start Try to interpret it as a source. 10:43.660 --> 10:46.070 align:start Tell us what stories it holds. 10:46.070 --> 10:47.640 align:start Who's in it? 10:47.640 --> 10:49.500 align:start What we can learn from it? 10:49.500 --> 10:51.250 align:start And I knew immediately I wanted to look 10:51.250 --> 10:52.810 align:start at civil rights era photography. 10:52.810 --> 10:56.330 align:start I've always been deeply moved by it, by the compelling images 10:56.330 --> 10:59.770 align:start that I saw as a student growing up. 10:59.770 --> 11:02.750 align:start So, I went to the Wisconsin Historical Society and began to look 11:02.750 --> 11:06.780 align:start at photographs from Little Rock, Arkansas, 11:06.780 --> 11:09.220 align:start Daisy Bates' personal collection. 11:09.220 --> 11:12.400 align:start Snapshots from Freedom Summer, 1964, 11:12.400 --> 11:15.820 align:start Mississippi-never been published before. 11:15.820 --> 11:17.850 align:start Then I, also, of course, saw photos like the one 11:17.850 --> 11:21.100 align:start on the left that are truly iconic. 11:21.100 --> 11:26.230 align:start Jackson, Mississippi, a Woolworth sit-in, 1963. 11:26.230 --> 11:32.050 align:start This one is used in history books, children's textbooks, documentaries 11:32.050 --> 11:36.370 align:start and it captures everything we know about civil rights era photography. 11:36.370 --> 11:43.740 align:start It accentuates danger, violence, what the nonviolent activists faced, 11:43.740 --> 11:47.420 align:start a sense of intimidation, but they raised awareness 11:47.420 --> 11:49.310 align:start and generated sympathy for the movement, 11:49.310 --> 11:54.240 align:start so they played an important role in the civil rights movement. 11:54.240 --> 11:57.210 align:start The picture on the right, I looked at, 11:57.210 --> 12:00.630 align:start but I had no idea how to interpret that. 12:00.630 --> 12:03.950 align:start Sort of an urban scene, interracial group marching through, 12:03.950 --> 12:07.580 align:start a police officer staring straight into the camera's eye. 12:07.580 --> 12:14.610 align:start Well, 2007 was the 40th anniversary of when that photo was taken. 12:14.610 --> 12:18.980 align:start It was taken on the second night of 200 straight nights of marching 12:18.980 --> 12:21.810 align:start for open housing in Milwaukee. 12:21.810 --> 12:25.220 align:start So, 200 straight nights would take you through a Wisconsin winter. 12:25.220 --> 12:30.150 align:start I'd call that dedication, but I didn't know how to interpret that. 12:30.150 --> 12:33.700 align:start I didn't know anything about the movement outside of the south. 12:33.700 --> 12:35.810 align:start Didn't know anything about it in Milwaukee. 12:35.810 --> 12:38.290 align:start I really had to begin to learn about it 12:38.290 --> 12:40.360 align:start and that's how this project began. 12:40.360 --> 12:42.820 align:start My advisor said, "People have written extensively 12:42.820 --> 12:46.430 align:start about the one on the left. 12:46.430 --> 12:49.720 align:start The one on the right, not many people have looked at." 12:49.720 --> 12:51.950 align:start Think about that. 12:51.950 --> 12:56.540 align:start These were the types of photos I was familiar with. 12:56.540 --> 12:59.950 align:start And when I say the words civil rights movement, they're the types 12:59.950 --> 13:02.200 align:start of images that pop into your mind. 13:02.200 --> 13:04.990 align:start Perhaps you've seen them yourself. 13:04.990 --> 13:08.300 align:start They're used over and over again. 13:08.300 --> 13:12.310 align:start They're downright famous and iconic and they're important. 13:12.310 --> 13:14.080 align:start There were important moments. 13:14.080 --> 13:18.730 align:start They document important speeches, confrontations. 13:18.730 --> 13:23.970 align:start So, I knew I need to understand how they came about, why they matter, 13:23.970 --> 13:27.930 align:start who took them, and how they've influenced how we think 13:27.930 --> 13:31.120 align:start of the civil rights movement today. 13:31.120 --> 13:34.010 align:start The one on the bottom left taken by Charles Moore 13:34.010 --> 13:36.590 align:start for Life magazine, I had seen that. 13:36.590 --> 13:40.390 align:start What I didn't understand was the context behind the photo, 13:40.390 --> 13:43.200 align:start what it documented, how it came to be. 13:43.200 --> 13:45.750 align:start Dr. King and the SCLC were hoping 13:45.750 --> 13:48.480 align:start for photographs like this in Birmingham. 13:48.480 --> 13:52.800 align:start They wanted to confront city leaders, 13:52.800 --> 13:56.420 align:start city commissioner Bull Connor to overreact, 13:56.420 --> 14:00.210 align:start to create a dramatic scene like this that could end up on the front page 14:00.210 --> 14:03.640 align:start of the newspaper, international newspapers, 14:03.640 --> 14:07.660 align:start and the nightly news, and shock Americans. 14:07.660 --> 14:09.620 align:start Call attention to what was happening. 14:09.620 --> 14:14.890 align:start Put pressure on Birmingham to help begin desegregating the city. 14:14.890 --> 14:17.310 align:start And it did help. 14:17.310 --> 14:21.890 align:start As I continue to learn about these iconic photographs, I found very few 14:21.890 --> 14:24.060 align:start from the North and the West. 14:24.060 --> 14:29.050 align:start And I knew that these images only told a part of the story. 14:29.050 --> 14:35.270 align:start The most iconic pics are usually emphasizing southern violence, 14:35.270 --> 14:39.670 align:start the southern movement, brutalized black bodies, 14:39.670 --> 14:41.990 align:start charismatic male leaders. 14:41.990 --> 14:46.320 align:start They overlook and make invisible the actions of ordinary Americans. 14:46.320 --> 14:49.060 align:start So, I came to understand what was being left out 14:49.060 --> 14:52.900 align:start and that there was a need for a book like North of Dixie. 14:52.900 --> 14:58.910 align:start North of Dixie is a small effort to shift this perspective 14:58.910 --> 15:02.340 align:start to recast the visual narrative. 15:02.340 --> 15:06.390 align:start It's a visual exploration of the movement beyond the South, 15:06.390 --> 15:10.710 align:start the best known individuals, and the most iconic locations. 15:10.710 --> 15:13.520 align:start The goal of the book is to make visible lesser-known 15:13.520 --> 15:19.610 align:start but equally inspiring stories from L.A. to Harlem, from coast to coast. 15:19.610 --> 15:22.240 align:start The selection of a hundred photographs from the late '30s 15:22.240 --> 15:26.600 align:start to the '70s capture the breadth of the movement and the diversity 15:26.600 --> 15:32.430 align:start of issues that activists challenged in their communities. 15:32.430 --> 15:36.510 align:start So, everybody asks, "How did you find all of the photographs? 15:36.510 --> 15:37.810 align:start And did you ... 15:37.810 --> 15:39.870 align:start How'd you select them?" 15:39.870 --> 15:42.150 align:start Well, I began by searching for online galleries, 15:42.150 --> 15:45.030 align:start working through the Library of Congress' website, 15:45.030 --> 15:49.270 align:start going through every photograph book I could find from the movement. 15:49.270 --> 15:52.800 align:start Then I began reaching out to photo archives, photographers, 15:52.800 --> 15:56.450 align:start collections, and reading widely about the movement in cities 15:56.450 --> 15:59.920 align:start like St. Louis, Chicago, Philadelphia, and Seattle. 15:59.920 --> 16:02.920 align:start I visited the Chicago History Museum. 16:02.920 --> 16:04.620 align:start Worked with curators at the Schaumburg, 16:04.620 --> 16:07.010 align:start at the New York Public Library in Harlem. 16:07.010 --> 16:09.500 align:start I went out to the Getty and looked 16:09.500 --> 16:13.550 align:start at the top left photographers collection Charles Brittin. 16:13.550 --> 16:16.240 align:start Charles Brittin was a CORE photographer with the Congress 16:16.240 --> 16:19.770 align:start of Racial Equality in LA among other things. 16:19.770 --> 16:23.750 align:start As you can see, those are context sheets 16:23.750 --> 16:28.180 align:start and you can see markings in red grease pencils. 16:28.180 --> 16:32.110 align:start It allowed me to get inside of a photographer's collection rather 16:32.110 --> 16:35.720 align:start than seeing the three most popular photographs that were published. 16:35.720 --> 16:38.680 align:start So, I was able to understand the ones he liked, 16:38.680 --> 16:41.470 align:start where he would maybe crop something out. 16:41.470 --> 16:45.470 align:start The papers, his personal papers, allowed me to see the ephemera, 16:45.470 --> 16:47.890 align:start the pamphlets, the booklets. 16:47.890 --> 16:52.940 align:start So, how CORE used his photography, what newspapers published his works. 16:52.940 --> 16:54.970 align:start So, it was more than just an image or two. 16:54.970 --> 16:58.590 align:start It was really understanding, providing a lens 16:58.590 --> 17:02.970 align:start into how an activist photographer within an organization worked. 17:02.970 --> 17:08.860 align:start In the end, I collaborated with photographers nationwide- some 17:08.860 --> 17:12.050 align:start who worked in the North and the South like Bob Adelman, 17:12.050 --> 17:14.160 align:start who recently passed away. 17:14.160 --> 17:17.160 align:start He sent thousands of unpublished works from cities, 17:17.160 --> 17:20.650 align:start about 15 different cities in the North where he worked. 17:20.650 --> 17:22.100 align:start So, I got to pick through those. 17:22.100 --> 17:25.880 align:start And believe me, looking through 2,000 photos to find the seven 17:25.880 --> 17:28.810 align:start that I can use in a book is really difficult work. 17:28.810 --> 17:30.400 align:start It's heartbreaking actually. 17:30.400 --> 17:33.630 align:start I was allowed to look through Gordon Parks' unpublished works 17:33.630 --> 17:38.060 align:start with his foundation, the images from Life magazine from his essays, 17:38.060 --> 17:39.700 align:start and selected two for the book. 17:39.700 --> 17:41.880 align:start So, that was a true joy. 17:41.880 --> 17:44.840 align:start In the end, we included 50 different photographers. 17:44.840 --> 17:48.570 align:start Out of a hundred photographs, 50 different photographers. 17:48.570 --> 17:51.320 align:start Not all art museum-quality work. 17:51.320 --> 17:56.470 align:start Some are photojournalists, activists, archivists, and amateurs, 17:56.470 --> 17:59.030 align:start and even police photographers. 17:59.030 --> 18:06.370 align:start But, of course, my most favorite research trip of all was to here, 18:06.370 --> 18:09.630 align:start the Prints and Photographs reading room at the Library of Congress. 18:09.630 --> 18:13.370 align:start I was lucky to spend two full days, which is, of course, not enough, 18:13.370 --> 18:17.700 align:start but two full days for a researcher is a lot of time. 18:17.700 --> 18:19.550 align:start It's an incredible resource. 18:19.550 --> 18:24.130 align:start After scouring the website and materials available from outside 18:24.130 --> 18:27.940 align:start of the building and working with the archivist in advance 18:27.940 --> 18:30.890 align:start to make sure I was going to have the most efficient research trip 18:30.890 --> 18:36.300 align:start possible, I came and I began to hold those prints in my hand 18:36.300 --> 18:39.710 align:start and flip them over and read the captions, find out whether 18:39.710 --> 18:44.250 align:start or not they were used, who took them. 18:44.250 --> 18:47.450 align:start Suddenly, I had access to all of these lesser-known, 18:47.450 --> 18:50.170 align:start rarely published, if at all, images. 18:50.170 --> 18:52.970 align:start The images we haven't seen before. 18:52.970 --> 18:56.750 align:start I spent hours in the U.S. News and World Report magazine collection, 18:56.750 --> 19:00.520 align:start the New York World Tribune and Sun newspaper morgue. 19:00.520 --> 19:04.560 align:start I was stunned to hold these contact sheets and pore over them, 19:04.560 --> 19:10.070 align:start looking for new stories, new angles, different insights. 19:10.070 --> 19:12.730 align:start I also located crucial selections from the Library 19:12.730 --> 19:18.140 align:start of Congress' NAACP visual materials collection. 19:18.140 --> 19:20.580 align:start There are so many photographs that were collected. 19:20.580 --> 19:23.650 align:start And I don't know how they came in, but there are snapshots 19:23.650 --> 19:27.750 align:start that people took and then might've loaned to the NAACP. 19:27.750 --> 19:31.460 align:start They were press photographs, studio photographs. 19:31.460 --> 19:32.760 align:start Some had captions. 19:32.760 --> 19:35.690 align:start Some had nothing, but it's an incredible collection. 19:35.690 --> 19:39.180 align:start I can remember cranking through them on the microfilm and it was the end 19:39.180 --> 19:41.930 align:start of the day of that my eyes were hurting so bad. 19:41.930 --> 19:44.360 align:start You know and you press one more photocopy 19:44.360 --> 19:48.400 align:start and you go home barely knowing what you have and then the joy 19:48.400 --> 19:51.520 align:start to see those photographs come in crystal clear. 19:51.520 --> 19:54.360 align:start And I'll show a few on another slide. 19:54.360 --> 19:57.690 align:start But, this one is one that I found from 1942 and it's one 19:57.690 --> 20:00.800 align:start of the earliest and the strongest photographs in the book. 20:00.800 --> 20:05.520 align:start You can see what the St. Louis NAACP was concerned with- 20:05.520 --> 20:12.650 align:start stopping lynching, victory at home, victory against racism at home, 20:12.650 --> 20:15.000 align:start victory for democracy abroad. 20:15.000 --> 20:19.530 align:start And then the more famous 1936 photo on the right. 20:19.530 --> 20:26.320 align:start You can tell that racial violence nationwide was clearly an issue. 20:26.320 --> 20:30.170 align:start These were among the strongest photos in the book 20:30.170 --> 20:32.940 align:start and I couldn't imagine North of Dixie without them. 20:32.940 --> 20:35.190 align:start They exposed the routes of the activism 20:35.190 --> 20:39.440 align:start and they're a treasure to have. 20:39.440 --> 20:43.260 align:start My favorite collection, and this was not planned at the Library 20:43.260 --> 20:45.280 align:start of Congress, was the Look magazine collection. 20:45.280 --> 20:46.910 align:start It's a true gem. 20:46.910 --> 20:49.950 align:start How many people remember paging through Look magazine? 20:49.950 --> 20:51.250 align:start All right. 20:51.250 --> 20:57.810 align:start It's just like Life- large format, glossy pages, color photography. 20:57.810 --> 21:00.090 align:start There was strong coverage of the northern movement, 21:00.090 --> 21:03.260 align:start perhaps most memorably of Selma. 21:03.260 --> 21:07.490 align:start But, Look also covered discrimination in the North. 21:07.490 --> 21:10.670 align:start Once I found an article in the magazine or in the index, 21:10.670 --> 21:15.080 align:start I would set that aside and know that there would be 15, 20 photographs 21:15.080 --> 21:18.600 align:start for each article that was never used, sometimes even more. 21:18.600 --> 21:24.390 align:start But, one of the best ones that I came across filled an entire page 21:24.390 --> 21:29.080 align:start and a half in the magazine and it was taken by Bob Adelman 21:29.080 --> 21:33.150 align:start in the Brooklyn neighborhood of Bedford-Stuyvesant. 21:33.150 --> 21:36.250 align:start And he said it captured for him what it was 21:36.250 --> 21:38.240 align:start like to live in that neighborhood. 21:38.240 --> 21:42.690 align:start The whole article was what the different residents face whether it 21:42.690 --> 21:47.190 align:start was in the schools or working nearby, 21:47.190 --> 21:51.500 align:start paying high-priced rent, dilapidated housing. 21:51.500 --> 21:53.800 align:start And the photographs was one of his favorites. 21:53.800 --> 21:55.640 align:start The funniest story he told me ... 21:55.640 --> 22:00.260 align:start I can still remember sitting in my office talking to him on the phone 22:00.260 --> 22:01.560 align:start and he said, "You know that ... 22:01.560 --> 22:03.880 align:start That photograph was stolen by the Russians 22:03.880 --> 22:06.300 align:start and it was printed in Pravda." 22:06.300 --> 22:07.920 align:start I was just kind of write that down, like, 22:07.920 --> 22:10.400 align:start another story that a photographer will tell. 22:10.400 --> 22:14.000 align:start Well, sure enough, I was able to track it down in Pravda. 22:14.000 --> 22:15.730 align:start Couldn't read anything on the page. 22:15.730 --> 22:18.430 align:start Couldn't tell you how I found it, because it was word searching to get 22:18.430 --> 22:20.840 align:start to it, and I eventually found it. 22:20.840 --> 22:22.760 align:start I sent that to him and he was so pleased 22:22.760 --> 22:26.500 align:start to corroborate a story he's been telling all these years. 22:26.500 --> 22:29.950 align:start And you have to remember, this is a point in American history 22:29.950 --> 22:32.060 align:start where we were very concerned. 22:32.060 --> 22:36.750 align:start We were wondering and worrying about what the Russians thought of us. 22:36.750 --> 22:39.940 align:start So, a picture like this was in stark contrast 22:39.940 --> 22:43.750 align:start to what we were promoting is being the strongest democracy 22:43.750 --> 22:45.530 align:start in the world. 22:45.530 --> 22:54.430 align:start By now, you're probably wondering, "Well, what are differences 22:54.430 --> 22:56.740 align:start between the photos in the North and the South?" 22:56.740 --> 23:00.160 align:start And I'm embarrassed to say, after four years of working 23:00.160 --> 23:02.180 align:start on this, there really isn't. 23:02.180 --> 23:05.030 align:start I was not able to come up with a really great definition 23:05.030 --> 23:06.330 align:start of how they different. 23:06.330 --> 23:08.980 align:start And sadly, they're the same kinds of photos. 23:08.980 --> 23:12.050 align:start It's just how they were used. 23:12.050 --> 23:15.720 align:start There was no shortage of dramatic confrontations, racist actions 23:15.720 --> 23:20.000 align:start or inspiring moments, speeches and marches. 23:20.000 --> 23:24.250 align:start The northern media preferred to downplay and bury local concerns. 23:24.250 --> 23:26.720 align:start They cast them aside in favor 23:26.720 --> 23:30.890 align:start of covering heroic nonviolent southern protests. 23:30.890 --> 23:34.920 align:start But, when northern movements and stories of local activism blew up 23:34.920 --> 23:37.770 align:start and deserved to be on the front page, 23:37.770 --> 23:41.020 align:start they could no longer be ignored. 23:41.020 --> 23:46.530 align:start Photo editors had that same insatiable appetite to use violent, 23:46.530 --> 23:50.460 align:start active, dramatic scenes on the front page. 23:50.460 --> 23:54.910 align:start Yet when they covered them or wrote about them, there was never 23:54.910 --> 23:59.810 align:start that same moral clarity when they were condemning the South. 23:59.810 --> 24:02.450 align:start That sense of conviction was not there. 24:02.450 --> 24:03.960 align:start So, the photos and many 24:03.960 --> 24:06.290 align:start of the stories were largely forgotten outside 24:06.290 --> 24:09.320 align:start of the cities in which they happened. 24:09.320 --> 24:12.010 align:start The southern stories fit a comfortable storyline. 24:12.010 --> 24:14.640 align:start They were easier to frame, point a finger. 24:14.640 --> 24:17.930 align:start It was always easier to shift the blame. 24:17.930 --> 24:22.380 align:start But, seeing northern photos of endless marches and burning crosses 24:22.380 --> 24:26.600 align:start or kids in Chicago waving Confederate flags complicates how we 24:26.600 --> 24:29.690 align:start remember the civil rights movement. 24:29.690 --> 24:33.080 align:start The North was not the racially benevolent place 24:33.080 --> 24:36.210 align:start that our historical imagination suggest. 24:36.210 --> 24:42.070 align:start It was not the northern promise land that most hoped it would be. 24:42.070 --> 24:49.320 align:start Believe it's critically important 24:49.320 --> 24:52.130 align:start to bring these northern stories into view. 24:52.130 --> 24:54.370 align:start Dr. King often reminded people, 24:54.370 --> 24:59.160 align:start "America's racial issue was not a sectional but a national problem." 24:59.160 --> 25:02.630 align:start Yet, northern activism is absent in the way we characterize, 25:02.630 --> 25:05.400 align:start teach and remember the era. 25:05.400 --> 25:09.410 align:start So, if we want to understand the full story of one 25:09.410 --> 25:13.170 align:start of the most important social movements of the 20th century, 25:13.170 --> 25:16.990 align:start we can't just see half the story. 25:16.990 --> 25:20.750 align:start Racism and discrimination were often more hidden and subtle in the North. 25:20.750 --> 25:24.550 align:start There were not signs for separate drinking fountains, buses. 25:24.550 --> 25:28.460 align:start Photographers had to work hard to make this discrimination visible. 25:28.460 --> 25:33.930 align:start You had to march into a white Chicago neighborhood 25:33.930 --> 25:38.280 align:start to call attention to the issue like on the left, or you had to lay 25:38.280 --> 25:41.050 align:start down under a steam shovel in Cleveland 25:41.050 --> 25:46.570 align:start to slow school constructions that would further segregation there. 25:46.570 --> 25:49.820 align:start People struggled against pervasive forms of discrimination 25:49.820 --> 25:54.570 align:start like housing segregation, redlining, racial steering, 25:54.570 --> 25:58.080 align:start neighborhood boundaries protected by force. 25:58.080 --> 26:01.340 align:start The top right photograph is from the Look magazine collection. 26:01.340 --> 26:06.560 align:start And this family spent every Sunday touring the edges of Philadelphia 26:06.560 --> 26:09.110 align:start where they could find housing. 26:09.110 --> 26:12.460 align:start And this particular image shows them looking at a house that they fell 26:12.460 --> 26:14.800 align:start in love with, but also realizing that it was 26:14.800 --> 26:17.130 align:start in a whites-only section. 26:17.130 --> 26:23.560 align:start The article was called "Jim Crow Northern Style" and ran in 1956. 26:23.560 --> 26:33.390 align:start One of the benefits of looking beyond the most well-known stories 26:33.390 --> 26:35.950 align:start is we're better able to identify 26:35.950 --> 26:39.210 align:start and appreciate lesser-known grassroots movements 26:39.210 --> 26:42.110 align:start that were conceived of, built by, 26:42.110 --> 26:45.890 align:start and waged locally by ordinary Americans. 26:45.890 --> 26:50.310 align:start We see a woman here kneeling on her protest sign to block a dump truck 26:50.310 --> 26:55.390 align:start at a construction site in Brooklyn that refuse to hire black workers. 26:55.390 --> 26:59.050 align:start We see activism and agency. 26:59.050 --> 27:00.930 align:start We see men and women in San Francisco 27:00.930 --> 27:06.790 align:start in 1955 picketing a cab company that wouldn't hire a single black driver. 27:06.790 --> 27:09.030 align:start This is one of those photographs that I came 27:09.030 --> 27:11.980 align:start across in the NAACP collection. 27:11.980 --> 27:15.540 align:start And the photocopy I made was sort of rough-looking. 27:15.540 --> 27:19.360 align:start I had no idea how clear it would come through. 27:19.360 --> 27:22.650 align:start When it did, it was just gorgeous. 27:22.650 --> 27:25.780 align:start I mean, you could see the details of the women holding the signs 27:25.780 --> 27:29.480 align:start with their white gloves on, how well-dressed they are 27:29.480 --> 27:33.160 align:start and you couldn't see any of that. 27:33.160 --> 27:35.420 align:start This photo's so strong that it's been used in most 27:35.420 --> 27:38.170 align:start of the press accounts and it's probably the strongest image 27:38.170 --> 27:39.940 align:start in the press pool. 27:39.940 --> 27:48.250 align:start And I think it really stops people in their tracks. 27:48.250 --> 27:50.940 align:start With these photographs, we see so much more 27:50.940 --> 27:53.210 align:start than brutalized black bodies and violence. 27:53.210 --> 27:57.220 align:start We see people making change, not waiting for it to come to them. 27:57.220 --> 28:01.570 align:start That agency is important and I think young people today can see 28:01.570 --> 28:03.460 align:start that they weren't waiting for Dr. King to come 28:03.460 --> 28:06.430 align:start to their city to lead the movement. 28:06.430 --> 28:08.980 align:start They were there ready to lead. 28:08.980 --> 28:11.280 align:start Average citizens refused to wait. 28:11.280 --> 28:14.590 align:start They asked what they could do to make America better. 28:14.590 --> 28:21.620 align:start We also see images of proud and determined youth and active, 28:21.620 --> 28:23.580 align:start engaged citizens in the North. 28:23.580 --> 28:26.800 align:start Both of these images come from the Library of Congress. 28:26.800 --> 28:30.860 align:start The one on the left is from 1957 and went unpublished. 28:30.860 --> 28:35.310 align:start Blacks were engaged in local politics, even working at the poles. 28:35.310 --> 28:38.560 align:start This picture stands in stark contrast to the scene in the South 28:38.560 --> 28:42.050 align:start where blacks were shut out off the political process. 28:42.050 --> 28:46.120 align:start The image on the right depicts a successful sit-in 28:46.120 --> 28:48.210 align:start or as the typed caption notes at the top, 28:48.210 --> 28:52.190 align:start "A sit-down in an Oklahoma city drug store." 28:52.190 --> 28:56.850 align:start Most Americans are vaguely aware of the southern sit-in movement 28:56.850 --> 29:00.810 align:start that started in Greensboro, North Carolina in 1960. 29:00.810 --> 29:02.110 align:start In fact, you see a section 29:02.110 --> 29:06.950 align:start of the lunch counter right here in D.C. and the stools. 29:06.950 --> 29:11.780 align:start But, few know about earlier sit-ins such as 1942, Chicago, 29:11.780 --> 29:16.720 align:start one's in Baltimore; Wichita, Kansas, in 1958. 29:16.720 --> 29:21.520 align:start In fact, the 1958 Wichita ones are what inspired this group 29:21.520 --> 29:22.820 align:start in Oklahoma City. 29:22.820 --> 29:29.000 align:start Clara Luper was an NAACP leader there who led kids as young as eight 29:29.000 --> 29:32.940 align:start up to 16 into the desegregation over a period 29:32.940 --> 29:34.970 align:start of about four or five years there. 29:34.970 --> 29:38.740 align:start They did about 20 different places in Oklahoma City, 29:38.740 --> 29:41.860 align:start yet very few people know that. 29:41.860 --> 29:45.470 align:start So, the stories and the views and so much more that are left out of 29:45.470 --> 29:48.860 align:start that traditional narrative that we tell every February, 29:48.860 --> 29:50.880 align:start that we tell in grade school. 29:50.880 --> 29:55.680 align:start There are more reasons to celebrate, more things to think about, 29:55.680 --> 29:58.800 align:start harder questions to ask, and it's important 29:58.800 --> 30:01.780 align:start to re-examine what we think we know. 30:01.780 --> 30:07.390 align:start A lot of the pictures upend long held assumptions 30:07.390 --> 30:11.090 align:start about the movement and turbulent era. 30:11.090 --> 30:13.900 align:start Most popular accounts of the movements suggest that the struggle 30:13.900 --> 30:17.110 align:start in the civil rights movement came north only when Dr. King came 30:17.110 --> 30:21.560 align:start to Chicago in '66 to march, to end the slums. 30:21.560 --> 30:23.410 align:start The story then in those books continues 30:23.410 --> 30:24.710 align:start that the movement floundered 30:24.710 --> 30:29.920 align:start in the urban concrete amidst fire, rebellion, black power. 30:29.920 --> 30:32.100 align:start That's the beginning and the ending of the movement 30:32.100 --> 30:35.080 align:start in the North in a traditional story. 30:35.080 --> 30:39.440 align:start In reality, what historians have shown and what the photographs 30:39.440 --> 30:42.390 align:start in "North of Dixie" illustrate is that the routes 30:42.390 --> 30:47.460 align:start of the campaigns nationwide reach much further back often before World 30:47.460 --> 30:49.400 align:start War II. 30:49.400 --> 30:53.030 align:start The top right picture is taken in Chicago and it's a protest outside 30:53.030 --> 30:56.500 align:start of a roller-skating rink in an African-American neighborhood. 30:56.500 --> 30:58.900 align:start The skating rink was called White City 30:58.900 --> 31:01.570 align:start and blacks were not allowed to skate there. 31:01.570 --> 31:04.740 align:start So, CORE, the Congress of Racial Equality, which was founded there 31:04.740 --> 31:10.680 align:start in about 1942 took up the cause and picketed every Saturday night. 31:10.680 --> 31:14.050 align:start And they didn't make too much of a dent in business 31:14.050 --> 31:19.160 align:start until they began to, they innovated and began to do stand-ins 31:19.160 --> 31:22.950 align:start where they block the ticket booth on the busiest night of the week. 31:22.950 --> 31:25.220 align:start And they were losing more and more business. 31:25.220 --> 31:31.450 align:start But, what really cracked the straw here 31:31.450 --> 31:35.300 align:start and made a difference was they recruited volunteers 31:35.300 --> 31:37.830 align:start that had military service. 31:37.830 --> 31:41.870 align:start CORE recruited members to come out, hold signs that said, 31:41.870 --> 31:47.500 align:start "The draft boards did not exclude Negros and wear their uniforms." 31:47.500 --> 31:50.290 align:start And that began to make a big difference, because the individuals 31:50.290 --> 31:54.700 align:start who fought for democracy abroad, yet couldn't skate in their own backyard 31:54.700 --> 31:57.820 align:start and were enduring a second-class citizenship, 31:57.820 --> 31:59.370 align:start that made a huge difference. 31:59.370 --> 32:04.310 align:start And they ultimately desegregated it within a series of months. 32:04.310 --> 32:08.190 align:start Now the picture on the left shows how photography made issues 32:08.190 --> 32:10.340 align:start that weren't always visible. 32:10.340 --> 32:12.980 align:start From the street, visible. 32:12.980 --> 32:16.510 align:start In this particular case, a member of the NAACP with his arm band 32:16.510 --> 32:22.390 align:start on is standing near it, a janitor or a resident pointing to the ceiling, 32:22.390 --> 32:25.650 align:start to the huge plaster piece that had fallen. 32:25.650 --> 32:30.900 align:start There's leaky pipes above that caused that to fall. 32:30.900 --> 32:34.130 align:start And often these landed on men, women and children 32:34.130 --> 32:36.190 align:start who lived in the residences. 32:36.190 --> 32:39.170 align:start And you would see them in the black newspapers wearing a big bandage 32:39.170 --> 32:41.120 align:start with another story about this. 32:41.120 --> 32:43.460 align:start "Aren't you sick of falling plaster? 32:43.460 --> 32:46.510 align:start We sure are," the headlines would say, 32:46.510 --> 32:50.330 align:start or they would say, "Rats as big as cats. 32:50.330 --> 32:53.810 align:start Holes in the kitchens where rats could come and go." 32:53.810 --> 32:58.990 align:start These conditions inside of the living residences 32:58.990 --> 33:04.870 align:start in dilapidated housing, overpriced by landlords, preying on families 33:04.870 --> 33:07.520 align:start that couldn't move out of the neighborhood. 33:07.520 --> 33:11.430 align:start So, these photographs made it visible. 33:11.430 --> 33:14.560 align:start And I think that the pictures helped challenge 33:14.560 --> 33:19.900 align:start for the average reader the assumptions that demonstrations, 33:19.900 --> 33:24.150 align:start riots, and rebellions, they didn't come out of nowhere. 33:24.150 --> 33:26.450 align:start They didn't explode on their own. 33:26.450 --> 33:28.540 align:start They were often decades in the making. 33:28.540 --> 33:33.490 align:start And the issues stacking up like unsafe housing, poor city services, 33:33.490 --> 33:38.890 align:start unequal schools, overzealous policing- 33:38.890 --> 33:43.650 align:start these are protests to inaction. 33:43.650 --> 33:46.120 align:start Complacency in silence. 33:46.120 --> 33:49.030 align:start So, the escalating tactics through the decades, 33:49.030 --> 33:51.290 align:start the more determined protests they call attention 33:51.290 --> 33:56.460 align:start to the issues look different when you see 20, 30 years of photographs 33:56.460 --> 34:01.420 align:start of protests before a riot or a rebellion. 34:01.420 --> 34:08.010 align:start One of the chapters focuses on activist photographers. 34:08.010 --> 34:09.310 align:start And one of the earliest 34:09.310 --> 34:12.750 align:start and best-known activist photographers is Danny Lyon 34:12.750 --> 34:15.900 align:start who took the photograph on the top left. 34:15.900 --> 34:17.850 align:start He was a college kid from U of Chicago, 34:17.850 --> 34:20.400 align:start who brought his camera south ... 34:20.400 --> 34:24.890 align:start Southern Illinois, I should say Cayro to a Snick protest. 34:24.890 --> 34:26.190 align:start On the poster on the far left, 34:26.190 --> 34:29.510 align:start you can see congressman John Lewis kneeling. 34:29.510 --> 34:31.270 align:start Danny took this ... 34:31.270 --> 34:34.430 align:start This was his first protest photograph ... 34:34.430 --> 34:36.950 align:start First protest he went to. 34:36.950 --> 34:41.310 align:start A group of high school age kids were protesting at a city pool 34:41.310 --> 34:44.500 align:start that wouldn't let them swim there, African-American kids. 34:44.500 --> 34:46.600 align:start They were forced to often swim in the rivers. 34:46.600 --> 34:48.710 align:start And every year or two that somebody would die 34:48.710 --> 34:51.360 align:start and this issue would boil up again. 34:51.360 --> 34:53.880 align:start And Snick had admired their bravery and strength. 34:53.880 --> 34:55.890 align:start They had been beaten with pipes and arrested. 34:55.890 --> 34:59.740 align:start They were doing, I think, a hunger strike. 34:59.740 --> 35:01.460 align:start And they went down to support. 35:01.460 --> 35:04.150 align:start This photograph tells that story, 35:04.150 --> 35:09.550 align:start but it also captures Snick's emerging sense of leadership. 35:09.550 --> 35:11.910 align:start They were a youthful group. 35:11.910 --> 35:13.810 align:start They had men and women. 35:13.810 --> 35:17.600 align:start They weren't putting forth one charismatic male leader. 35:17.600 --> 35:21.890 align:start So, they used this photograph and this poster, 35:21.890 --> 35:23.580 align:start as you can see the words at the bottom 35:23.580 --> 35:27.580 align:start and their name, to advertise that. 35:27.580 --> 35:31.660 align:start They also innovated by making it into a poster that they could sell 35:31.660 --> 35:35.440 align:start and they printed 10,000 copies at a dollar a piece. 35:35.440 --> 35:39.650 align:start So, they began to use photography in a multitude of ways. 35:39.650 --> 35:42.220 align:start And the activist photographer played important roles, 35:42.220 --> 35:45.250 align:start but it also inspired other photographers 35:45.250 --> 35:47.790 align:start such as Bruce Hartford down on the left. 35:47.790 --> 35:52.610 align:start He was involved in a group called NVAC, 35:52.610 --> 35:56.850 align:start Nonviolent Action Committee, in Los Angeles. 35:56.850 --> 35:59.200 align:start And the fuzzy little photo 35:59.200 --> 36:03.650 align:start on the left captures their guerilla tactics. 36:03.650 --> 36:08.210 align:start What they would do is put on their placards, 36:08.210 --> 36:09.510 align:start wear them around their neck. 36:09.510 --> 36:13.440 align:start And in this case, it says, "Don't buy Van De Kamp's bakery products." 36:13.440 --> 36:16.830 align:start So, they were protesting this baking company that was alleged 36:16.830 --> 36:20.160 align:start for not hiring African-Americans at their factories. 36:20.160 --> 36:24.340 align:start And they would march into the grocery store singing freedom songs, 36:24.340 --> 36:28.020 align:start throwing pamphlets out and calling attention to the issue. 36:28.020 --> 36:31.350 align:start They would take all the baking goods off of the shelves and put them 36:31.350 --> 36:34.600 align:start in those carts and then push them up to the checkout counter 36:34.600 --> 36:37.680 align:start and just walk out and create a stir. 36:37.680 --> 36:39.020 align:start Then they would go to the next door 36:39.020 --> 36:40.720 align:start and do a similar thing and the next door ... 36:40.720 --> 36:45.080 align:start Of course, the police eventually caught up to them. 36:45.080 --> 36:47.290 align:start So, it wasn't the strongest tactic. 36:47.290 --> 36:50.910 align:start What he was trying to tell me is they would use these photographs 36:50.910 --> 36:52.210 align:start on their brochures. 36:52.210 --> 36:53.860 align:start As you can see the next image over, 36:53.860 --> 36:57.090 align:start they were doing a sip-in at a coffee shop. 36:57.090 --> 37:03.720 align:start He knew by watching Snick and others that photography meant immediacy. 37:03.720 --> 37:06.990 align:start It helped them dramatize the issues. 37:06.990 --> 37:09.700 align:start And that's how they wanted to use it. 37:09.700 --> 37:11.470 align:start He was not a professional photographer. 37:11.470 --> 37:15.250 align:start He carried a little Brownie camera that he had from when he was a kid 37:15.250 --> 37:20.150 align:start and snapped these little pictures, but they knew that they helped. 37:20.150 --> 37:25.180 align:start The other very powerful photograph comes from Detroit, 37:25.180 --> 37:28.980 align:start from a massive collection of Detroit NAACP photographs 37:28.980 --> 37:33.310 align:start at Wayne State University. 37:33.310 --> 37:37.040 align:start Detroit's NAACP was the largest branch in the nation. 37:37.040 --> 37:40.640 align:start They had a strong black middle class because of the auto industry 37:40.640 --> 37:43.020 align:start and had more members than anywhere else. 37:43.020 --> 37:46.680 align:start And they came up against school and equalities, textbook issues, 37:46.680 --> 37:51.100 align:start hiring discrimination, and of course, police brutality. 37:51.100 --> 37:55.820 align:start This picture was taken by the director or a volunteer 37:55.820 --> 38:00.040 align:start and then sent to newspapers- black and white. 38:00.040 --> 38:04.000 align:start It helped make a very invisible issue. 38:04.000 --> 38:09.960 align:start And I say "invisible," because in Detroit, between 1956 and 1960, 38:09.960 --> 38:14.930 align:start the Detroit NACCP investigated 150 different allegations 38:14.930 --> 38:16.480 align:start of police brutality. 38:16.480 --> 38:18.870 align:start And over one-third happened in the privacy 38:18.870 --> 38:22.760 align:start of a precinct office away from the public eye. 38:22.760 --> 38:25.920 align:start They weren't recorded as they are now. 38:25.920 --> 38:30.200 align:start So, they used the camera to make that visible, 38:30.200 --> 38:32.580 align:start to provide evidence of a beating. 38:32.580 --> 38:35.940 align:start And of course, they sent it to the black and the white presses. 38:35.940 --> 38:39.260 align:start The black press would occasionally run a photo with this story, 38:39.260 --> 38:44.650 align:start but the white press never covered the issue. 38:44.650 --> 38:49.980 align:start The fourth and final chapter in North of Dixie is built 38:49.980 --> 38:52.110 align:start around the concept of surveillance 38:52.110 --> 38:56.210 align:start and this is an issue that's not been written about much in relation 38:56.210 --> 38:57.930 align:start to the civil rights movement. 38:57.930 --> 39:02.870 align:start So, I was very happy to be able to find some photos and cover it. 39:02.870 --> 39:06.420 align:start The camera turned out to be an incredibly powerful weapon during 39:06.420 --> 39:08.340 align:start the civil rights movement as I've kind of showed 39:08.340 --> 39:12.010 align:start and others have written about, but it was also turned around and used 39:12.010 --> 39:15.710 align:start against the movement by law enforcement. 39:15.710 --> 39:21.350 align:start You can look at beautiful civil rights marches and photographs 39:21.350 --> 39:23.500 align:start and exhibitions, and once in a while, along the way, 39:23.500 --> 39:25.580 align:start you'll see a police photographer 39:25.580 --> 39:31.700 align:start in full uniform standing along a dusty road snapping pictures. 39:31.700 --> 39:35.540 align:start And rarely, do we stop and think about what or why they were doing. 39:35.540 --> 39:41.490 align:start In this particular case, I found the gentleman on the top right in Cayro, 39:41.490 --> 39:46.000 align:start Illinois, Illinois state highway patrol documenting the 39:46.000 --> 39:47.980 align:start marchers there. 39:47.980 --> 39:51.280 align:start Often times they were practical- how many people are out? 39:51.280 --> 39:52.690 align:start What are the routes that they took? 39:52.690 --> 39:58.500 align:start How can we prepare in the future to better contain or control a protest? 39:58.500 --> 40:02.050 align:start But, more often than not, they were for surveillance. 40:02.050 --> 40:09.150 align:start The top left photograph was taken in Seattle by a police photographer, 40:09.150 --> 40:10.950 align:start but I didn't know that at first. 40:10.950 --> 40:14.910 align:start I just saw a really great open housing protest. 40:14.910 --> 40:19.900 align:start And when I went to the Seattle Municipal Archives' website 40:19.900 --> 40:22.060 align:start and looked at two dozen of these photographs, 40:22.060 --> 40:25.550 align:start I began to recognize a theme. 40:25.550 --> 40:27.080 align:start People would kind of cover their face 40:27.080 --> 40:29.250 align:start or they would put a peace sign up. 40:29.250 --> 40:31.470 align:start And then there was at the last 40:31.470 --> 40:33.540 align:start of the images one little brave 10-year-old boy 40:33.540 --> 40:36.450 align:start who was his tongue out at the photographer. 40:36.450 --> 40:40.560 align:start And it hit me finally that they did not like that photographer. 40:40.560 --> 40:42.790 align:start They didn't want to be photographed. 40:42.790 --> 40:46.970 align:start Through the help of a incredible archivist there who kept digging 40:46.970 --> 40:51.290 align:start for me, she found a document related to these photos sent 40:51.290 --> 40:55.480 align:start by Sergeant Noble who took them delivered to the mayor, 40:55.480 --> 40:59.640 align:start to the mayor of the whole city, detailing who was the march, 40:59.640 --> 41:02.610 align:start what their license plates were, how long it lasted, 41:02.610 --> 41:07.280 align:start how many pictures they took, and all of that information. 41:07.280 --> 41:10.570 align:start Others were much more secretive like the Chicago Red Squad. 41:10.570 --> 41:14.030 align:start There were red squads in most major metropolitan areas, 41:14.030 --> 41:16.160 align:start but they would photograph and document 41:16.160 --> 41:21.850 align:start and build surveillance files on anybody deemed against the state- 41:21.850 --> 41:26.520 align:start protest groups, black power groups, communists, gangs. 41:26.520 --> 41:30.050 align:start And what I found fascinating about when I looked 41:30.050 --> 41:32.520 align:start through their collections is there would be a number one next 41:32.520 --> 41:34.610 align:start to somebody and their name on the back, 41:34.610 --> 41:40.080 align:start which I've included one of those in the book. 41:40.080 --> 41:44.000 align:start This massive collection was used against different groups. 41:44.000 --> 41:48.030 align:start When CORE march was part of the school boycott, 41:48.030 --> 41:51.740 align:start reporters were tipped off in advance who was against this and that 41:51.740 --> 41:53.040 align:start and they were covering it. 41:53.040 --> 41:57.660 align:start Police were able to arrest and use it against them. 41:57.660 --> 42:01.270 align:start The contact sheets on the bottom left come from New York. 42:01.270 --> 42:02.570 align:start The three ... 42:02.570 --> 42:03.870 align:start I know you can't see them. 42:03.870 --> 42:05.760 align:start The three are from Selma ... 42:05.760 --> 42:07.060 align:start Excuse me ... 42:07.060 --> 42:10.430 align:start A protest in New York related to the Selma marches and beatings. 42:10.430 --> 42:13.180 align:start And the police were there just kind of documenting, 42:13.180 --> 42:15.080 align:start monitoring who was there. 42:15.080 --> 42:17.490 align:start The next ones over are from the Black Panther rally. 42:17.490 --> 42:19.390 align:start And these ones really struck me 42:19.390 --> 42:24.020 align:start because one photographer took six rolls of film 42:24.020 --> 42:27.850 align:start of one Black Panther rally in one city related 42:27.850 --> 42:30.940 align:start to one issue on one single day. 42:30.940 --> 42:35.240 align:start So, give me a feel for the size, the massive amount of surveillance, 42:35.240 --> 42:38.510 align:start imagery that was taken that exists out there. 42:38.510 --> 42:40.440 align:start It is hard to get your hands on. 42:40.440 --> 42:42.810 align:start Most groups do not want to give it up. 42:42.810 --> 42:47.120 align:start These collections came about through lawsuits and are protected. 42:47.120 --> 42:51.530 align:start But, I think that it's an important way to understand 42:51.530 --> 42:55.880 align:start that the camera was both a weapon for the movement and against it, 42:55.880 --> 43:02.530 align:start and there's a lot to be learned, and it's very relevant today, of course. 43:02.530 --> 43:03.970 align:start So, my last slide ... 43:03.970 --> 43:07.300 align:start As you might imagine working on a book during the past two, 43:07.300 --> 43:11.680 align:start three years has been an incredibly powerful time. 43:11.680 --> 43:16.740 align:start And with each issue, each tragic police killing, 43:16.740 --> 43:18.780 align:start each college protest, it became more 43:18.780 --> 43:22.030 align:start and more relevant, more and more timely. 43:22.030 --> 43:25.550 align:start And with each photograph or gesture coming 43:25.550 --> 43:28.470 align:start up in the news, we were able to ... 43:28.470 --> 43:31.650 align:start You were able to sort of harken back to an earlier time 43:31.650 --> 43:34.730 align:start to visual imagery you've seen before. 43:34.730 --> 43:39.990 align:start And it became apparent with the cover that is incredibly powerful 43:39.990 --> 43:43.230 align:start from 1967 in Newark, taken 43:43.230 --> 43:47.680 align:start by the first black photographer for the New York Times. 43:47.680 --> 43:51.490 align:start That it was powerful then. 43:51.490 --> 43:56.880 align:start But then with the hands-up gesture, it became even more relevant now. 43:56.880 --> 44:00.000 align:start And the photographs that we see now, whether they come 44:00.000 --> 44:04.190 align:start across our cellphones, or actually printed in a newspaper, 44:04.190 --> 44:10.170 align:start are going to harken back their conversation. 44:10.170 --> 44:14.260 align:start And then we begin to wonder which ones are going to be the images 44:14.260 --> 44:19.530 align:start that will be iconic 50 years from now? 44:19.530 --> 44:22.560 align:start Which images will tell the story? 44:22.560 --> 44:26.790 align:start Which handful will be used to represent our time? 44:26.790 --> 44:33.090 align:start One of the things I like to ponder and I'd love to hear kind 44:33.090 --> 44:36.090 align:start of what the Library of Congress is doing with digital images 44:36.090 --> 44:39.860 align:start that might be coming in, because it's a huge challenge. 44:39.860 --> 44:45.350 align:start But, there are efforts to preserve tweets, digital media from Ferguson, 44:45.350 --> 44:48.500 align:start from Baltimore, and from St. Paul. 44:48.500 --> 44:53.210 align:start But, will we be able to find them 50 years from now 44:53.210 --> 44:55.780 align:start if somebody wants to do a book? 44:55.780 --> 44:58.070 align:start It's kind of a scary time. 44:58.070 --> 45:00.340 align:start I worry about my own digital media. 45:00.340 --> 45:05.160 align:start What will happen with the way we're preserving things now? 45:05.160 --> 45:10.650 align:start But I do want to end with one quote in the preface that speaks 45:10.650 --> 45:12.390 align:start to the time that we're in. 45:12.390 --> 45:19.040 align:start I think when the wonderful historian and photographer, Deb Willis, 45:19.040 --> 45:23.610 align:start who wrote the preface, sent it to us, I can still remember where I was 45:23.610 --> 45:26.170 align:start when I read it and how moving it was. 45:26.170 --> 45:30.760 align:start I don't know how she did it, how she picked it, but she chose words 45:30.760 --> 45:35.920 align:start from James Baldwin who wrote in 1961, 45:35.920 --> 45:41.760 align:start "Bobby Kennedy recently made me the soul-stirring promise that one day, 45:41.760 --> 45:46.160 align:start 30 years if I'm lucky, I can be president too. 45:46.160 --> 45:51.660 align:start It never entered into this boy's mind that perhaps I don't wanna. 45:51.660 --> 45:56.210 align:start What really exercises my mind is not this hypothetical day 45:56.210 --> 46:01.230 align:start on which some other Negro first will become the first Negro president. 46:01.230 --> 46:04.010 align:start What I'm really curious is just what kind 46:04.010 --> 46:06.230 align:start of country will he be president of?" 46:06.230 --> 46:08.510 align:start Thank you. 46:08.510 --> 46:18.260 align:start [applause] 46:18.260 --> 46:21.960 align:start >> MARK SPELTZ: Welcome any questions and if you don't want 46:21.960 --> 46:23.800 align:start to be recorded, I understand. 46:23.800 --> 46:38.340 align:start There will be plenty of time afterwards. 46:38.340 --> 46:45.520 align:start Yes. 46:45.520 --> 46:49.240 align:start >> AUDIENCE MEMBER: (inaudible) 46:49.240 --> 46:50.540 align:start >> MARK SPELTZ: Sure. 46:50.540 --> 46:55.830 align:start In all honesty, I was searching for anything I could get my hands on. 46:55.830 --> 46:57.530 align:start Chicago, for example, in order 46:57.530 --> 47:00.520 align:start to even view the Chicago Red Squad collection, 47:00.520 --> 47:04.420 align:start you need to sign an affidavit and then when you go, 47:04.420 --> 47:05.940 align:start you can look through them. 47:05.940 --> 47:08.390 align:start But, in order to publish any of them, you need permission 47:08.390 --> 47:10.300 align:start from the person in the photograph. 47:10.300 --> 47:13.230 align:start Or if they've passed away, you need permission from their family. 47:13.230 --> 47:16.480 align:start So I used four of them and it took probably two months 47:16.480 --> 47:18.380 align:start to get all of those permissions. 47:18.380 --> 47:21.450 align:start Just myself and of course that was their verbal permission 47:21.450 --> 47:25.100 align:start and then the publisher reached out to them as well 47:25.100 --> 47:27.350 align:start to confirm that in writing. 47:27.350 --> 47:29.930 align:start But, that was an incredible challenge. 47:29.930 --> 47:34.600 align:start Other places, the New York City municipal archives, 47:34.600 --> 47:36.580 align:start somehow they got that collection. 47:36.580 --> 47:40.420 align:start The problem there was they were in the process of taking them 47:40.420 --> 47:43.570 align:start from negatives and scanning them. 47:43.570 --> 47:46.640 align:start So they were they just inching their way along through the years. 47:46.640 --> 47:49.500 align:start Some they said, "well they're not indexed in any way. 47:49.500 --> 47:53.480 align:start They're by date so can you send us what you are interested in?" 47:53.480 --> 47:57.570 align:start So, at that point I had to think, ok, what were the major protests 47:57.570 --> 48:00.430 align:start or events that the police might have been paying attention to? 48:00.430 --> 48:04.290 align:start So, I kind of worked that out and sent them that list. 48:04.290 --> 48:08.270 align:start And then they went through and found whatever they could find. 48:08.270 --> 48:12.390 align:start And I found a really nice archivist who digitized them and sent them 48:12.390 --> 48:15.220 align:start to me and then I asked a few questions here and there. 48:15.220 --> 48:18.060 align:start But, it's amazing what they have. 48:18.060 --> 48:24.130 align:start In fact, one of them was around the 1964 Harlem riots 48:24.130 --> 48:30.610 align:start and they had a picture of the police officer who shot the young boy 48:30.610 --> 48:32.960 align:start which kind of started it all. 48:32.960 --> 48:34.920 align:start They actually scanned and sent me pictures 48:34.920 --> 48:37.260 align:start from the morgue of the young man. 48:37.260 --> 48:40.510 align:start It was incredible stuff that exists. 48:40.510 --> 48:45.130 align:start So, there's a lot to be done with that angle still. 48:45.130 --> 48:49.650 align:start And I was just doing the North, so anything from Mississippi, 48:49.650 --> 48:52.130 align:start anything from the South where there was even more surveillance 48:52.130 --> 48:56.110 align:start photography, you know, literally a government agency to track 48:56.110 --> 49:03.500 align:start and disrupt, that would be a fascinating project, I'm sure. 49:03.500 --> 49:16.700 align:start Not sure it's going to be me though. 49:16.700 --> 49:19.710 align:start Beverly. [inaudible] 49:19.710 --> 49:21.030 align:start >> BEVERLY BRANNAN: I should say something 49:21.030 --> 49:24.550 align:start about the way the library acquires digital photographs. 49:24.550 --> 49:27.380 align:start It's pretty difficult for us to do because we have 49:27.380 --> 49:30.230 align:start to maintain standards that are higher 49:30.230 --> 49:32.490 align:start than the commercial standards. 49:32.490 --> 49:37.030 align:start So, when people try to send us things, we have to go through a lot 49:37.030 --> 49:39.700 align:start of gyrations to get it up to the level 49:39.700 --> 49:42.310 align:start that we can put it on our website. 49:42.310 --> 49:47.950 align:start We don't have a good delivery system in place yet for digital images. 49:47.950 --> 49:51.160 align:start So, we have worked with the few photographers 49:51.160 --> 49:59.450 align:start who send us hard drives because none of the other commercial methods 49:59.450 --> 50:04.980 align:start of sending things seems to work with the security systems that are 50:04.980 --> 50:06.370 align:start in place here at the library. 50:06.370 --> 50:08.210 align:start So, they send us a hard drive. 50:08.210 --> 50:12.200 align:start We download the images and send them back the hard drive, 50:12.200 --> 50:17.280 align:start which sounds pretty clunky and it is. 50:17.280 --> 50:21.580 align:start We also work with photographers on the rights. 50:21.580 --> 50:27.430 align:start They have to sign a form telling us exactly what rights they own, 50:27.430 --> 50:31.180 align:start what rights they retain, and which ones they give to the public. 50:31.180 --> 50:36.820 align:start And a lot of people are off put by having to declare this. 50:36.820 --> 50:42.040 align:start So, that is an educational process we have to go 50:42.040 --> 50:43.960 align:start through with each photographer. 50:43.960 --> 50:47.040 align:start So we try to get multiple photographs, 50:47.040 --> 50:51.250 align:start multiple digital photographs from individual photographers 50:51.250 --> 50:55.390 align:start so that it's not going through this process 50:55.390 --> 50:58.290 align:start with each person who sends a picture. 50:58.290 --> 51:04.080 align:start So, we're kind of in a slow clunky mode of acquiring. 51:04.080 --> 51:09.360 align:start But we do acquire digital images and when possible we put them up online, 51:09.360 --> 51:14.650 align:start up on the website now, but a lot of people want to retain their rights. 51:14.650 --> 51:18.730 align:start So, the images are not available at present. 51:18.730 --> 51:26.280 align:start And, so we have to keep updating the digital images until such time 51:26.280 --> 51:29.730 align:start as the people are willing to let us release them. 51:29.730 --> 51:31.840 align:start So, that's a little bit of background 51:31.840 --> 51:35.810 align:start about how we acquire digital images. 51:35.810 --> 51:37.380 align:start >> MARK SPELTZ: Thank you for that. 51:37.380 --> 51:41.860 align:start Incredibly complex, no doubt about it. 51:41.860 --> 51:46.070 align:start Yeah? 51:46.070 --> 51:48.720 align:start >>AUDIENCE MEMBER: (inaudible) 51:48.720 --> 51:50.640 align:start >> MARK SPELTZ: What surprised me the most 51:50.640 --> 51:52.950 align:start and it shouldn't have been a surprise, 51:52.950 --> 52:00.040 align:start was that 97 of the photos were going to focus on ordinary Americans. 52:00.040 --> 52:04.130 align:start That's usually one of my main points besides the movement happened 52:04.130 --> 52:09.820 align:start down south is who lead and fought and you know did the daily work 52:09.820 --> 52:13.950 align:start in the movement and I think that's also the most inspiring part. 52:13.950 --> 52:15.610 align:start You know, we don't need to wait 52:15.610 --> 52:18.770 align:start around for anybody, change begins with one. 52:18.770 --> 52:25.320 align:start But, I think that that seeing that on the pages was, 52:25.320 --> 52:29.460 align:start shouldn't have been surprising, but it was a really good reminder. 52:29.460 --> 52:31.930 align:start Out in San Francisco, I'm going to be working 52:31.930 --> 52:35.440 align:start with the Wells Fargo Family and Business History Center, 52:35.440 --> 52:39.160 align:start so doing corporate history of the company and then working 52:39.160 --> 52:41.790 align:start with families who are clients. 52:41.790 --> 52:43.790 align:start Yes? 52:43.790 --> 53:00.560 align:start >> AUDIENCE MEMBER: (inaudible) 53:00.560 --> 53:01.860 align:start >> MARK SPELTZ: Well, I do think 53:01.860 --> 53:04.030 align:start about the surveillance photography a lot 53:04.030 --> 53:06.100 align:start and I always keep my eyes out for that. 53:06.100 --> 53:09.650 align:start Any historian or author knows 53:09.650 --> 53:12.970 align:start that you're always gathering material for the next projects. 53:12.970 --> 53:16.120 align:start I'm also incredibly interested in the photography 53:16.120 --> 53:19.970 align:start of Malcolm X. I spent a day in New York a couple weeks ago, 53:19.970 --> 53:25.000 align:start going through his 3 to 4,000 photos at the Schaumburg Center, 53:25.000 --> 53:29.050 align:start so some pictures taken by him during International travel- nation 53:29.050 --> 53:33.990 align:start of Islam photographs, things that he took during court cases 53:33.990 --> 53:35.330 align:start with the n action of Islam. 53:35.330 --> 53:37.350 align:start So, I think there's something to be done with that. 53:37.350 --> 53:42.480 align:start But, that's you know a big project and books are three 53:42.480 --> 53:45.200 align:start to four years of your life, you know? 53:45.200 --> 53:49.360 align:start I don't brew beer or make change. 53:49.360 --> 53:52.670 align:start I do history in my free time. 53:52.670 --> 54:01.510 align:start Yeah? 54:01.510 --> 54:15.270 align:start >>AUDIENCE MEMBER: (inaudible) 54:15.270 --> 54:16.570 align:start >> MARK SPELTZ: Yeah. 54:16.570 --> 54:17.870 align:start I didn't specifically come across them. 54:17.870 --> 54:21.230 align:start I also wasn't looking. 54:21.230 --> 54:24.800 align:start It's amazing, even though the book has 100 photographs, 54:24.800 --> 54:28.370 align:start you know that's not a lot in a photography book. 54:28.370 --> 54:31.660 align:start We had a binder about three or four inches thick, and when we got 54:31.660 --> 54:35.890 align:start down to 150, cutting those last 50, 25, 54:35.890 --> 54:40.330 align:start like you know incredibly painful. 54:40.330 --> 54:46.340 align:start And then when you cast that net so wide and you're working full time, 54:46.340 --> 54:47.980 align:start you can only visit so many places. 54:47.980 --> 54:51.690 align:start So, you go to the best repositories that you know of. 54:51.690 --> 54:54.810 align:start But, that's not to say that you can't sometimes get lucky. 54:54.810 --> 54:57.370 align:start I worked at the National Archives and I worked 54:57.370 --> 55:00.180 align:start with an incredible archivist there. 55:00.180 --> 55:04.230 align:start The Black Panthers were investigated in 1970 55:04.230 --> 55:07.790 align:start in a Congressional investigation 55:07.790 --> 55:12.500 align:start and so they published a big thick document, book detailing everything 55:12.500 --> 55:15.330 align:start and there are photographs in there as evidence. 55:15.330 --> 55:19.250 align:start And I got really curious, well where are those photographs now 55:19.250 --> 55:21.230 align:start from the Congressional hearings? 55:21.230 --> 55:24.040 align:start And sure enough somebody was able to turn them 55:24.040 --> 55:26.140 align:start up at the National Archives. 55:26.140 --> 55:30.500 align:start And there were photographs that somebody had taken locally, 55:30.500 --> 55:34.060 align:start documenting where the free breakfast centers were, 55:34.060 --> 55:36.640 align:start where the Panthers were located. 55:36.640 --> 55:40.030 align:start There were some other thigs related, evidence of a bombing 55:40.030 --> 55:42.160 align:start or somebody's car or something. 55:42.160 --> 55:43.700 align:start And then there were press photographs 55:43.700 --> 55:48.020 align:start that the investigation got from the local press. 55:48.020 --> 55:51.690 align:start And then used to identify everybody in it. 55:51.690 --> 55:54.220 align:start There were police mug shots. 55:54.220 --> 55:59.370 align:start So, this archive was squirrelled away somewhere and it wasn't 55:59.370 --> 56:02.750 align:start that the actual prints from the evidence that I was able to find, 56:02.750 --> 56:06.430 align:start it was actually able to get them through the publication of the book. 56:06.430 --> 56:08.630 align:start So, they were the book files. 56:08.630 --> 56:09.930 align:start You know, which was just crazy 56:09.930 --> 56:11.910 align:start and you would never think to look that way. 56:11.910 --> 56:16.780 align:start So, often times you might start on a search 56:16.780 --> 56:19.450 align:start and then you get lucky finding it elsewhere. 56:19.450 --> 56:21.200 align:start And if I had started out looking 56:21.200 --> 56:27.730 align:start for the book publication files, they'd never exist, so. 56:27.730 --> 56:29.670 align:start Yeah, great. 56:29.670 --> 56:32.730 align:start >> PAM JACKSON: So, we'll have to be our last question. 56:32.730 --> 56:34.480 align:start I just want to say thanks again, Mark. 56:34.480 --> 56:39.300 align:start Your presentation, your materials are vivid and striking and engaging. 56:39.300 --> 56:43.270 align:start Very much appreciate your work and I think that one of the things 56:43.270 --> 56:45.710 align:start that I love about the opportunity to be here and share this 56:45.710 --> 56:49.500 align:start with you all is that our hope is that it opened your minds 56:49.500 --> 56:54.340 align:start and your hearts and makes us curious and I want to learn more 56:54.340 --> 56:58.280 align:start and make sure that you know our empathy is present. 56:58.280 --> 57:02.760 align:start And our history is known and that we can be the kind of people that make 57:02.760 --> 57:05.800 align:start that change, as you mentioned versus wait for it. 57:05.800 --> 57:08.370 align:start So, thank you so much for being here and sharing with us. 57:08.370 --> 57:10.000 align:start I'd also like to thank and acknowledge, 57:10.000 --> 57:13.370 align:start the Center for the Book's Communication Director, 57:13.370 --> 57:16.650 align:start Guy Lamolinara for making today's event. 57:16.650 --> 57:19.550 align:start Thank you again Beverly Brannan for your partnership with Prints 57:19.550 --> 57:23.030 align:start and Photographs and to acknowledge Daniel A. P. Murray Association 57:23.030 --> 57:25.330 align:start and for their co-sponsorship. 57:25.330 --> 57:28.510 align:start Thank you all so much for being here and take care. 57:28.510 --> 57:33.460 align:start [applause] 57:33.460 --> 57:37.090 align:start >> This has been a presentation of the Library of Congress. 57:37.090 --> 57:39.470 align:start Visit us at loc dot gov.
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