Greys anatomy has collected every day objects that mark and dehumanize africanamericans. The founder and director of the jim crowe muchl of racism memorabilia he said they can be used as teaching tools. Next on american artifacts a visit to the museum at Ferris State University in big rapids, michigan to see a selection of artifact of a collection of thousands. Special thanks to the museums cinemagrapher recorded the audio and video while we asked questions via zoom. When i was a kid growing up in alabama, 11, 12 years old or so i went to a flea market hybrid carnival. There were carnival rides but also people there selling objects. One of the objects was similar to this. I purchased it and i broke it. And, again, it wasnt a philosophical thing i didnt like the object. I dont remember the second object or third or the fourth, but i started collecting, and basically have been collecting for several decades. Didnt start out with the anticipation of creating a museum. I was what most people would call an obsessive collector, and the idea of it becoming not just a collection for as teaching tools but actually a museum happened much later. So not everybody where you grew up was collecting these items. Theres got to be more, more i mean what was it that made you keep doing it . You know, i dont know. Im thinking ive been thinking about that a lot. You know, my ancestors for four generations back is, you know, there are people from the bahamas, from trinidad, from spain, from Indigenous People of this country. I guess what im saying i grew up as a multiracial, black identified in deep south at a time when jim crowe was it wasnt as strong as it had been, but there was more than residue that was still in effect. So i the thought about race a lot. And then i left there. I between a historically black college my schools, my elementary school, high school were allblack. I lived in a rigidly and definitely a segregated environment. I left there when i went away to college, that was historically black school and i think it was there that i started making the connection between these and the objects just to satisfy some weird interest i had. And instead viewing them as ways to teach about jim crowe and Race Relations in u. S. Before we go through your objects that you selected, you had mentioned jim crowe. The name of your museum but i imagine not everybody really knows the definition, what is jim crowe. Im not sure not everybody does because people come to the museum and quite frankly most people dont know the accurate story of jim crowe. In the late 1820s thomas rice a white, struggling white stage acto blackened his face, adopted the persona of a black i dont know any other way to said but baffoon and started entertaining audiences. He wasnt the first person to dress in blackface and not the first person to dress in blackface and inat tintimate th fools and it wasnt very long before blackface mins the t rirch als took off. He became jim crowe and became a is in minim synonim for ways blacks were portrayed. You might not call this the Jim Crow Museum of racist memorabilia. Not sure what i would call it. But the reason that name seems so appealing at the time was because most of my collection was from, lets say the 1870s to the 1960s. So it was a nice umbrella term for my collection. And the more i studied the collection, the more i under stood that these objects, these every day objects were used to undergird the jim crow racial hi hirearchy in united states. One reason why i would consider change we have objects that are not from the jim crow era and i think it is important that we have objects that have been created in the last five, ten, 15 years because it shows that despite changes in the u. S. We have tastes and attitude indicative of the jim crow mindset. So, could you begin by telling us about southeast objects you have selected for this . I certainly will. I would like to take a couple and then cyndi will share a few. Jim crow museum focus on every day objects. We dont spend a lot of time talking about racist organizations, although you really cant tell the story of Race Relations and racism in the u. S. Without talking about racist groups. But most of our objects are every day objects. So heres one that links both of those because this represents someone who is a member of the kkk, yet its an every day object. I challenge you ill hold these up for you, what do you think the function of these are . Now, obviously, one is a racist function, in other words promoting a white supremacist domestic terrorist group, but where was this used in a home . Maybe on some kind of a lamp, but i dont know. Not a bad answer. These were tree toppers for christmas tree. So that shows you, you know, how the ideas reflected in objects permeated the entire society. And ill tell you one more, this is an example, this doll right here and i dont know if you remember this from i think this was the 2008 election, and this doll sort of plays into the idea that africanamericans are not really humans, that they are more akin to monkeys, apes, and this is a way of saying that then candidate obama was actually a monkey. And i of the ten read poetry from some of the classical people and one of them is walt whitman and youre reading leaves of grass this is so powerful, this says something amazing about the human spirit and then reminded that he referred to black people as, you know, monkeys and baboons. He was not alone in that and. The point is that in this every day object, in this every daikon temporary object we have those ideas morping to the present. Another example of a modern object and theres such an interesting story about this. Years ago i dont name the store and i wont even tell you what it rhymes with, okay. But i went into a store and there were eight cookie jars. And they were all animals. And when you opened the mouth of the dog it barks. And when you opened the mouth of the pig it made pig sounds. But when you open the mouth of the alligator it made this sound. Oh, my sure is tasty cookies. It taps into this long history, especially material culture but in jokes, in movies that black people arent really people. They are actually food for other people, and the story part again this, is an every day again, sitting on the store shelves. Well we do a lot of over the years, weve done a lot of trai trainings or conversations with different groups and some include corporations or corporate leaders. I had in here one day about, i dont know, about six or eight leaders from a company where this was produced. And i told them what this object was, told them that this is sold in your stores, and i played it. They were so horrified that they went out and almost immediately had that removed from the shelves of their stores. So now im feeling all, like the worlds greatest activist, i used education to persuade people to make the world better. But what really happened was these objects then just showed up on the secondary market. They became hot collectibles, and i tell that story because theres no really easy answer to what we the do with objects. My approach has always been items lining this should be destroyed or used as teaching tools. Thats what we do here. We bring people here. We introduce the piece and we ask what is it you see . I want to make sure you gate chance to talk about yes. So as dr. Pilgrim mentioned we focus on every day objects how they perpetuate stereotypes and how they influence peoples attitudes towards africanamerican people. In last few weeks we have seen several Companies Like aunt jemima wanting to rebrand. I have aunt jemima pancake flour mixes. The image has changed over the years. This is one is more highly caricature than others. With aunt jemima people are familiar with the history and we find this happens fairly often in museum as dr. Pilgrim said. People visit this facility not knowing exactly what jim crow was or who jim crow was, and the role that every day objects played. So with aunt jemi mfrp ircjemims based on a mammy caricature. She has detector skin. Unattractive by todays standards. Shes smiling and loyal to the white family. For some people this represents some wholesomeness, some sentimental kind of perspective. For other people it represents the vies tstages of slavery. When we look at jaunt jemima we see every day on store shelves some people do see s rrvistages slavery. Can you tell us about those adversarial boxes of aunt jemima. I would that would be like the first couple of decades of the 1900s. The next one would be more what you would have found in the mid1900s. And then that one which looks my actual aunt would have been the most recent version. The brand aunt jemima started in 1880. It does have a very long history. Related to the mammy caricature, i have this family here of handmade dolls. And this was a recent donation to the museum. It came to us from someone, a grandmother actually handmade these dolls from the 1940s, and i have a little tag here that was included with the set and it says American Family p. M. And i find this one really interesting because this grandmothers interpretation of the American Family in 1941, you can see included a black mammy caricature and shes holding the white baby of the family. So, again, that demonstrates the pervasiveness of this same caricature that aunt jemima was based off of but the spear pervasiveness of black women in society. I want to make sure you talk about the laws. Number one there are fewer people that know about that than the jim crow but yet its making an appearance in the u. S. I was at buehrle park a couple of years ago which is a big huge flea market and there were several tables with very cheap, you know, gollywo govern dolls in them. The gollywog is not a wellknown caricature in united states. But it was one i was familiar with growing up outside of america. It was popular in europe, uk, new zealand, australia. The origins of gollywog came from 1894 where there was a book called the adventures two of little dutch dolls and she included a gollywog character. He has very black skirng bulking white skirngs caricature mouth. Hes dressed, looks very sill lar to the blackface minstrels. In book he was portrayed as being mischiefous, rude, naughty. Gollywog showed up the uk. They used the gollywog image for branding. His head had the same kind of controversies in European Countries as weve had in this country in terms of is this offensive or not . So there are people who are saying its just a doll. Let it go, right . And others are saying, no, look at this. This is a caricature of a caricature, right. And so heres another point we have to make. Its also a slur. Right. So if i would not be pleased if someone called me a golly. I certainly wouldnt be pleased if they called me a wog and i count be pleased if they called me a gollywog. One thing im most pleased from in the museum we get people from other nations who ask us questions and ask us to get involved and for years theres been a fight over, you know, should books that have the gollywog in them be used as childrens books. Should it be removed from the label, should companies that use the gollywog rebrand. Conversations that are very similar to the ones that we have in u. S. About some of our products. So, like with aunt jemjemima, b the way i was stunned. When quaker announced that they were rebranding aunt jemimi i was absolutely stunned. Because weve had conversations for years and, again, even though mostly were facilators we have world view and part of my world view its racist even though i might not say that to the visitor who comes in but getting the home have conversations so that they also hear that. And it just did not seem likely that, that was ever going to change. And then when they announced that change, other Companies Began to change. But the point im trying to make in my own meandering way is that aunt jemima products like that, most of the products like that in u. S. That got dealt with in 1940s. The 1950s. The 1960s. So kids were not still reading little black sambo in schools as a textbook and some other branding had already changed. These held on. The Company Refused for years and years. So im very pleased that those changes are occurring. I suppose im even more pleased with the conversations that are going along with those changes. So im not going to get into a big discussion about peoples motives and for our purposes it represents it sounds so weird to say but a kind of validation, if not vindication for the work that weve been doing for many years. Can i ask you a question. What i hear quite often because it was created outside of the united states, although people arent aware of American History, therefore, they see that disconnect as validation that they should still exist and still should be made. What would your response be . Well, so one of my responses would be even if you did not know the history, just the aesthetics of the object itself. So when i was like say burly park and i saw this one table and it was all he wasnt selling a lot of times at flea markets people have 50 things to sell. This person had one product and they were these gollywog dolls in plastic bags selling for, you know, five bucks. He had that table with hundreds of them. Many are handmade. These were not. These were massproduced. So my point is that even so the person walking down the ailes, it doesnt matter in some sense that they dont know the history. It would be good if they did but it doesnt matter because what they are seeing is a table of grotesquely caricature, black dolls so thats the one piece. The other piece is i mean its really the responsibility of educators to educate and part of the challenge is, is that a lot of the historians in this country, a lot of the sociologists dont know the history of these objects. So, you know, were not robots and im certainly not a robot. I mean i have you know, ive struggled collecting these things at points. Ive only lost my balance maybe a handful of times. But one of those times it was in early 1980s, i was in laporte, indiana and i went into an antique mall, and it was a small antique mall but there were lots of booths. And one of them had this print. And i dont know, you can do the math on my age, i was obviously much younger, and not asthma turin some ways, i guess. So i saw this. Now, we have pieces that are much worse than this in terms of the harshness of the caricature. And the socalled nword, we have a whole section on that. And so its not like these things are new to me. But on that particular day, when i walked up to the i walked up to the i think it was framed. It was either 20 or 22 and its an ad from like the early 1900s. And the clerk wrote down black print. On my receipt. But i wanted her to write down the caption. Which says nigger man. If you sell stuff like this write down what is it. Again i havent lost my balance. Collecting these objects, teaching about these objects, you know, its not always easy. And i left. Years later i reflected on that. And i felt bad about it because the person working there, they didnt own the antique mall. This was just someone working there, right. And i was holding that person responsible for the object in a very specific way, and i actually thought, you know, i owe them an apology. And against all odds, i thought well, you know, if i ever go back there, against the odds the person will still thereabout and ill have a conversation and say, listen, its hard to collect this stuff. Im not trying to be melodra melodramat melodramatic. The mall was closed. Theres no big ending on that. I wanted to make sure i talked about that. I would agree with it being difficult to use an object as a teaching tool because to me as an effective facilitator we have to distance ourselves emotionally. Sometimes thats hard to reconcile. Being surrounded by these objects every single day and having to help people and guide people through their experience with these objects, its a challenging aspect. Well, i dont know if you have to do this but i have to remind myself that this is someones first time in here. Yes. And this is like, you know, a particular object ive dealt with the object a thousand of times and its new to them. We used to have several instructors who helped us as volunteer docents. One of the Biggest Challenges for them was not to crush people, because someone if you create a space where people are free and safe, they can be uncomfortable but still safe. So if you create a space where people are safe to have discussions then they will say some things that quite frankly, you know, actually are offensive to us, right. They are offensive because they represent kind of an ignorance of the past. Or they reflect, you know, a world view thats, you know, not democratic, not fair minded and whatever else you want to say. Right. So the big challenge for them was, you know, someone said something that they didnt like or reflected, again, ignorance or misunderstanding of the past and they would need to like make that person know. You cant work in this space if thats who you are. One challenge i find too is that some people have gone their whole lives believing whether its being taught or taught by family members or just an experience in the world and suddenly they are thrust into this space where they are confronting their entire life in many ways, and that can be confronting for people and some people are very willing to take on a new perspective and learn. Others are not. But it can be a challenging space. Like for us facilitators or docents. I want to talk about this one. My supervisor, as a sociology professor he was the department head. As much as that can be a sue r per supervisory position. We were friends. He and i went to a conference, National Conference ever race and ethnicity. And this was in new orleans. I think in i think in early or mid90s. We gave a session on the Jim Crow Museum introducing the mission, vision and the work of the museum to what was a large and mostly africanamerican audience. And when we got to the questions, you know, the end. We offered people an opportunity to engage us with questions, but also to give us their, you know, their views or their beliefs. And it was it was eyeopening. Because they said, listen, we understand that the u. S. Doesnt have a racist museum and that youre creating, that this will not be a black history museum, this will not be an africanamerican achievement museum, those things are needed and valuable but we understand that thats not what youre going to do. However, if youre going to have a museum that has a lynching tree in it, that has these every day caricatures, objects in it, you have to have a space in there showing how africanamericans pushed back. You have to. And so its not enough to just say were not a black history museum. Someone else is telling that part of the story. You have to also tell that part of the story and it just cant be a nod. You have to really tell that story. And it really shook me up because, you know, i didnt want our work and this is i have to choose my words right here. I didnt want our work to be diluted because it wasnt our mission, but after that conversation i was like, you know what . They are right. We need a section on africanamerican achievement which we have. We need a section on the Civil Rights Movement which we have. We need a section on africanamerican artists using their art to deacon struck racial imagery which we have. But i didnt have the pieces. So shortly after that, there used to be something called black memorabilia doll show. No disrespect to the promoter who i like and who likes me but thats an odd name for some of the stuff. But anyway we went there, i believe it was in d. C. At the time. And i purchased this. And it has a coin that has book engineer t. Washington. I was the struck by its beauty and the reason im showing it to you, this is the first nonracist piece that i bought for the museum and i have to tell you something, we bought stuff over the years. It should not surprise you that it was a lot easier to reach into my back pocket and pull out money. To buy things like this than it had been more years and years to buy the contemptible pieces we had been birring. And, by the way, when we opened the museum, this was the first piece we put in there. When did you open the museum . In our Current Location we opened in 2012. In the 90s we were located in a very maul 500foot square room which was visual storage. We were doing important work in there and in some ways it was more overwhelming because in a small room where you just have hundreds and hundreds of pieces, theres no escape, you know. So you really feel, you know, how pervasive these objects were. So we moved into this space in 2012 and because weve received so many objects, including very expensive collections, and we recognize that there are news stories we need to tell were actually in early stages of trying to move into a much larger facility, a standalone facility. So, this is something again called basketball. And this object actually belongs in the cabinet behind us here which is looking at blacks as topics. During jim crow fair grams and other recreational games used a real life black person as a target. Or in this the instance used the caricature image of a black person as a target. So you would set it up like this and then the person would try to throw the ball into the hole here. The idea underpins both this game as well as the games behind us here were that black folks did not feel pain is why people did it. This idea that pain tolerance was for black and white people justified the use of these games. A lot of these games were objects that children would play with. If we start to think about these objects as form of propaganda, these objects were really starting to descenetize people and normalize violence against black folks. Yeah. Games like african dodger where you threw the ball at the actual face of a black person and we tried recreate that here. The other part of that story is that its not just that africanamericans werent, you know, supposedly feel pain as much, but that hitting them and causing them pain was a form entertainment. It was public. Public entertainment. So that feminine just think of that. I give you money, you give me a baseball, and i throw it at the face of another human. So, its not just the three of us, the person who sold me the balls, myself and the victim, but there are other people watching. So people are screaming and yelling hit him, hit him. They are not saying hit the future of the black senator. They are not saying hit the guy i wish was my neighbor. You know. They are saying hit something else. Right . Back to the original question, how we started here with you. You know, like what is jim crow . So i began by saying that, you know, like the origin, talking about the origins of jim crow. I actually believe it became syonym. They believe it was another name for the hirearchy. But frederick douglladouglass h sit in a jim crow car. But this idea where whites were on top. We ask people like what is jim crow. Some of them will say you know its the laws. And because they have some vague understanding that, okay, the whites only are the segregate i think most people are familiar with segregation and jim crow laws. Okay. I know when other people talk about the laws, they have a misunderstanding that the laws were created at a very specific point in time all at once. Of course we educate people here at the museum that those laws were occurring all over in country, here in Northern Michigan and at very different points during the jim crow period. The laws are critical. But the system didnt run just on laws. It also ran on customs and practices. So even in places where, where you may not have had as many laws, you still had jim crow practices. Practices that supported the rieshl he ira rchy. When that failed you either had violence either threat of violence or symbolic violence or actual physical violence. And, you know, i say this and i dont think this is a mistake, the jim crow the system of racial heirarchy properly known as jim crow could not have existed in this country without violence. It just couldnt. Now weve added another layer to tuneding, because we make the point. That the system was also propped up by millions of every day objects. And postcards. And ashtrays. And incense burnerser and childrens games. You name it every day objects. And the ideas that undergird jim crow were reflected in those objects which in turn helped to shape future attitudes about africanamericans. So it took me it took me 40 minutes to answer your first question, but thats the answer. Would you say that most people are you familiar with every day objects as propaganda, maybe before they even come to the museum or is that a new idea. Thats a great question and im going to. I, they dont. Part of our challenge is trying to show the relationship between an ashtray that caricatures africanamericans as dumb or ugly or criminal, and a system which in part was supported by ideas like that about black people because there were people, scholars if would you, who refused to make a connection. They were like this has nothing to do with jim crow. Im like are you kidding me . How is this not . Because heres the easy way to answer the question. If you walk through this museum and see all the ways that africanamericans are caricatured and the stereotypes that accompany the caricatures, you know, so we have the mammy, the tom, the coon all these nasty caricature and then the stereotype, dumb, ugly, aggressive, how is that not supporting a system of jim crow. I think often people think of propaganda as the old poster, they dont think propaganda as a box of pancake flour or a childs game. Were talking about these things in way thats in past, but if anybody goes into the yard sale or flea market or antique store now, these things are still all around. What should people do . Thats tlil a question i get quite frequently from visitors in museum. Now that i understand a little bit more and have more knowledge about these objects, when i see them in real world. Unfortunately, there are millions and millions of objects out there. They are still being manufactured. A lot of them are reproductions. Theres no possible way that, i believe, that we can remove them all from the market. My suggestion to people is back to the mission of the museum to educate people. I truly belief thats the way that we can stop the manufacture and stop the spread of these objects and these antiblack messages. So my suggestion to people is go up to that store and tell them why is this gollywog not appropriate for sale, why aunt jemima need to be changed. It might be a little thing, may not make a big difference immediately but i believe educating and sharing the true history true history is really not taught in many school curriculums. So people are lacking this knowledge about the historical period but also about the danger and the hurt that these objects cause. So my advice would be to use that as a Teaching Opportunity and educate others. How would you approach that . Well this is really tough for me because i think this is an area where i disappoint some of my colleagues. Because they expect me to say, hey, you know what . Be very aggressive and confront people and demand they remove this case in point. About a dozen or so of my colleagues tried to get ebay to remove socalled black memorabilia from their listings. And they wanted me to be a part of the group. And i said to them, i dont want to do that. The and they were like you hate these objects. I said actually there are some of them that i actually do hate. But i dont want to do that. I dont want to live in a society where people cant buy these objects. I want to live in a society where they are educated and choose not to. And the example i gave earlier of, you know, me helping to facilitate something being removed from stores didnt actually remove them from stores. It removed them from the stores but not from the united states. So thats one part of it. But on the other hand i think some of the stuff has no real at least this is just me talking, i think it should be encouraged if youre not going use it as a teaching tool, but we need be careful. I mean its just im such a naive Old College Professor who believes that you can as trite as it sounds i still believe in dollar, you with bring people in and you can list enchange peoples hearts and minds. A few years back, one of my colleagues who has a similar collection, he met me at western michigan, brought in a few of his pieces, and we talked to some university students, i dont know, eight, 12 students. They all presented as white americans. I think it was a graduate art cool and we sat around in a circle and passed around a doll, i guess it wasnt a gollywog similar to a mammy doll, aunt jemima doll and we had simple rules. Amp, let people finish talk. Dont attack anybody. So those are basic kindergarten type rules, right . Then the question was presented was this. When you look at this, what is it you see . Thats all. Just tell everybody what you see. And when went around and did. We went around a contime with the request why is it that you believe you see what you see . And then the last question was so what do you do with that person saw who saw this thing differently than you did. It was it was you know, i wish we had videotaped that conversation because it shows the power of objects as teaching tools and, again, this is no, you know, after school special. Were still living in the real world. You know, youre not likely often to get one of these, you know, salt in road to damascus experience and the person has the light goes on and they are now a new person. But what we can do is present spaces where people in a thoughtful way can listen and talk and i think thats what happened that day. So the death of george floyd and black lives matter movement, big changes happening what your thoughts about whats going on in the country now . Well, i will tell you that weve always had social what people would call justice moments in this country. Actually, you know, sometimes pains me when people talk about the Civil Rights Movement starting like the 50s and 60s. So weve always had justice moments in this country. This current Justice Movement set off by the horrific killing of george floyd, i think has challenged a lot of americans, not all americans, but challenged a lot of americans to ask themselves what is it that they believe the country does in terms of Race Relations and racism and then it has challenged people to also look at themselves. So, when i heard about the quaker with aunt jemima, i was stunned, i was pleased. You know, i actually wanted one of the interviews i did i said the only thing that would be more shock would be if the Football Team in our Nations Capital changed its name. And i mean because people were working on that for decades, right . And the people that didnt want to do it were so entrenched it seemed like it would never happen. But i think there are conversations going on not just in police departments, not just in corporations, but in. Our churches, in neighborhoods. Now you know, im not in those conversations, so i dont know, you know, im not listening to what im not listening wane that would allow me to sort of judge, you know, the quality of the conversation, if you would. But i know there are more conversations happening in this country. That pleases me a lot. And so one of my little statements was that when i first was aware of the quaker decision it felt like a trickle and now it feels like a fast train. Where is the museum and why is it . Im glad you asked that question. The jim is at fair State University in big rapids, michigan. And if you know our history as an institution, you know that our founder, woodrich nathan fairs was committed to Racial Justice long before that was normative in the u. S. I mean, he brought the first class had women in it. He had Brought International students here. In the early 1900s, he brought dozens of africanamericans here from the south, most specifically virginia, to be educated here. And, you know, belford lawson, the first africanamerican to win a case before the Supreme Court was one of those students. Percival pratt, the first africanamerican to be admitted to the press corps of congress was one of those. To a person, by the way, those dozens of students became civil rights workers, or leaders. Not just civil rights workers, but leaders. Thats part of our tradition. I would say that many people assume that a museum that focuses on race antiblack racism in the u. S. , a museum which positions itself as an antiracism facility should be at a historically black college or in some big city. That doesnt make sense to me. First of all, i think there should be a there should be museums like this all across the country. And unless youre bringing in certain political views, it wouldnt really make it shouldnt matter where its located. As long as the work its doing is good work. And, you know, its one of those, if you build it, they will come things. I mean, weve had people come from all over the world. Obviously, we get people doing that virtually, remotely, but weve had people physically come from all over the world. You know, we have harvard professors coming. Henry lewis gates is a friend of the museum and shot for his documentary here. We work with people who create documentaries. We work with scholars. We work with civil rights and human Rights Groups from all across the country. So, if you do good work, people will find you. If people want to know more about your museum now, and they cant visit, what would you recommend for people who are watching this . I would suggest looking at our website, first and foremost. We have a lot of information on there about the exhibits as well as some articles that dr. Pilgrim and Franklin Hughes and some other have written. Thats a great information resource. So, we have the virtual tour, which is similar to a google street view, i guess, of the museum. That is accessible to anyone at any time. And then we are running facilitated versions of that virtual tour where people should sign up to attend those. Something that david says quite often is that this museum is testimony to the resiliency of africanamerican people. Yeah. I appreciate you adding that. I think thats important. Because it when were looking at all of these, yes, our work is related to these racist caricature objects, but i really think about how people lived under this system. And thrived. Yes. To me thats the resill yebtcy. I appreciate you saying that because i think people need to hear that. Were not a shrine to racism. This is i mean, when you walk through all of this, and then you realize the wonderful achievements of africanamericans, i mean, theres pride there. Well, thank you very much. Thank you. Youre watching American History tv, every weekend on cspan3, explore our nations past. Cspan3, created by americas Cable Television companies as a Public Service and brought to you today by your television provider. Weeknights this month were featuring American History tv programs as a preview of whats available every weekend on cspan3. Tonight we explore the american story with a look at the National Park service. We visit eight parks across the country, including mt. Rushmore national memorial, selma to Montgomery National historic trail and gateway arch National Park, if featuring a mixture of architectural history. Enjoy American History tv every weekend on cspan3. Every saturday at 8 00 p. M. Eastern on American History tv on cspan3, go inside a Different College classroom and hear about topics ranging from the american revolution, civil rights and u. S. President s to 9 11. Thanks for your patience and for logging into class with most College Campuses closed due to the impact of the coronavirus, watch professors transfer teaching to a virtual setting to engage with their students. Goeb chef did most of the work to change the soviet union but reagan met him halfway. Reagan encouraged him. Reagan supported him. Freedom of the press, which well get to later, i should just mention, madison originally called it freedom of the use of the press and it is, indeed, freedom to print thinnd
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