tv Documenting History Through Photography CSPAN February 9, 2021 8:00pm-9:49pm EST
america and the center for creative photography at the university of arizona. >> thank you president robins and thank you all for coming here tonight. it's a thrill to see you tonight in centennial hall and as dr. robinson said, we have ambitions plans to think about the art of and transformative ways. i'm thrilled to be leading arizona arts, our new gateway to arts experiences, assets and educational programs at the university of arizona. the core of our mission in arizona regardless of major, have meaningful experiences in the arts and the david hume kennerly archive will further that mission by engaging students and faculty across the university in the most transformative ways. the acquisition of this archive is a prime example of our commitment to integrating the arts in all aspects of the university experience and to make the university of arizona
a true arts destination. tonight we are such a treat as we hear from two pulitzer prize winners, jean meacham and david hume kennerly. this evening is really only the beginning, as doctor robin said, looking ahead, david will collaborate and work closely with faculty and arizona arts and the college of social and behavioral sciences and others from across our campus to really activate this archive as an invaluable resource for student learning and for research. i'm really deeply proud that the center for creative photography is home to this archive. the leadership and staff of the center have putting countless hours with david and his team, to make this acquisition possible. and i'm really grateful for all of their efforts. i especially want to extend my gratitude to any -- sitting here in the front row, thank you for all of your her hard work.
in many ways, the center jewel of what is meant to be, the arizona -- this remarkable event would not be possible without the generous support of our presenting sponsor, bank of america and i'd like to ask you to help me in welcoming adriana king romero, tucson market president, bank of america. thank you very much. good evening, on behalf of the half of bank remark, i would like to thank you for being with us tonight. i also want to thank the university of arizona, doctor robert robins and the center for creative photography for all their hard work and partnership in planning all of tonight's offense. at bank of america, we asked the question, what would you like the power to do? it responsibly we often hear is
to build strong and brightening communities. so it's exciting to hear about this partnership that the university of arizona has developed with the arts and david hume kennerly. because we believe in the power of the arts to help economies thrive, educate and enrich societies and create greater cultural understanding. our -- heart has the power to help individuals embrace and appreciate people's backgrounds, culture, heritage and experiences which, helps to strengthen communities. together, david and john will discuss the importance of photography and culture and the way it bears witness helps us understand complex issues, evokes a motion and leads to a greater knowledge of our world. i am proud to support and celebrate the great partnership
bark of america has with david. he's been a longtime partner, not only working with our senior executive and board of directors, but he's also traveled around the united states and to other countries covering our extensive social responsibility programs, such as our global ambassadors program, and our partnership with final voices. throughout tenure partnership, david has created a vast archive for bank of america documents or corporate culture, and among many other themes, the photos underscore how we contribute to our local communities and the g?w:customes that we serve. dan working with this has been a great partnership in its own right, and you know, we also feel the same about him. so for that reason that we are proud to sponsor this wonderful event. it is exciting to be extending this partnership, bank of america has with david, to include the university of
arizona and the center for creative photography. these partnerships will ensure that david's historic work is shared with university community and beyond to provide a unique perspective on history that helps bring inside of iconic events. so without further ado, i want to thank you again for being here tonight, and i hope that tonight's presentation, you will see how photography can help see a different perspective to create insight, open up dialog and invoke a greater understanding of some of the most important cultural and political issues of our time. thank you. ♪ ♪ ♪
>> for more than 50 years, david david hume kennerly has documented history with his camera. his singular perspective and relentless determination have helped him create unforgettable images of the powerful and the powerless alike. but the david hume kennerly is unparalleled for his depth and breadth. it excess weeping look at history in the making, the people who made it and some of the most important events of our times. >> it all started with a cat. our family cat. i took a picture of her when i was ten years old. that early photo got me excited about the idea of capturing what was going on around around me. i was always dreaming about being somewhere other than where i was at the moment. >> howard fine man, former news week peachy for little
correspondent said, can early is as good as it gets in a craft he defined. >> i within saigon when i got a tell ex from upi headquarters, kennerly as one the pulitzer prize for photography. a typical wire service fashion added, need soon as comment. vietnam was the biggest story of my generation. i felt an obligation to document the story that was killing so many of us. he every frame i took in vietnam went straight to my heart. i'm proud to be a photographer, an unfortunate to be one that went into war and came out alive. when i got back from vietnam, watergate was the big story.
i took a picture of gerald are for, that ended up on the cover of time after nixon picked him to replace vice president agony you, who had resigned. that led directly to me becoming the chief white house photographer. >> soviet president, michael gorbachev, said kennerly work is more than just photography, its history. >> people ask if there's any world event i regret not shooting, of course. everything i missed! but it wasn't much. every photographer, no matter
what they do, provide a service and that is to give insight into who we are and wet makes us take. you will find those secrets in the photograph. >> and so adams said, kennerly set forth a testimony that photography as a language, can speak truth. >> journalists, photographers are the people who keep us informed. we are the truth tellers, my drops to show people what they don't want to see and until what they find out what is real.
a great photo is one that makes you sit up and pay attention. there are certain pictures that you see that just never go out of your mind. i'm going to keep shooting until the day i die, i will never stop being curious and i will never put down my camera. >> ladies and gentlemen, please welcome jon meacham and david hume kennerly.
>> after that, we don't have to do anything else. welcome to the only funeral i've ever been to, where the corpse is still briefed. david and i are both two of the last six in america and, this is our first bar mitzvah. so, this is going to be a remarkable evening. there are a lot of folks who are known by one name. share, ana, madonna. and then there are some who have three names. lee summary presently, j edgar hoover, and david hume kennerly. it requires the three names to capture the greatness of the
man who is sitting with us tonight. >> thank you. [applause] >> i'm honored to be here. i was david's editor, must of been the radio operator at pearl harbor. he wasn't uncontrollable force. but, dear friend and and even a longer term admirer. and this will surprise some of you. i was an odd child. i remember his time covered from long long ago. i thought his coverage of antigua was particularly strong. he bumped matthew brady out of the way to get that lincoln shot. but, there is nobody better at doing what david does and the remarkable thing is that in
many ways, he invented the bureau of which he is the master. which is that of being in the room. >> thank you. >> and now we will move to a him from -- >> mitch always puts it really well. you may want to know what my archive voice, right? >> i always want to know, so tell us why we're here right this minute. >> the university of arizona center for creative photography is the perfect place for -- by the way, i want to think rebecca, my wife, without whom this would have not been able to happen. and my three sons are here, one of whom was playing the violin onstage, nick. and, he and tremendous, on who also did the music for the video that you saw. composed, played and bayern is
here, james the other two boys. they all miss out on a great university, sorry they didn't go here but that's how it goes. but the reason i take pictures is so people can see them, that's the whole point of the drill for me. and, it's important for students and historians to have access to these photographs. and, i'm going to slide this forward here, to create a record. if we didn't have photographs from the start of photography, nearly 18 hundreds, we know so much more because of them. and, i think i should talk about my first big record creating thing. this is me -- actually, i could've been a student here, 19 years old, covering robert kennedy's from portland oregon.
this was my first major assignment that i refer the organ journal and i was given the assignment to cover kennedy coming in a 1966. who's jam-packed so i couldn't get in the room. and, that was going to be a real problem because you being an editor, we don't like people coming back and saying, they didn't get the story of the photo. >> not a great moment. >> and so, i kind of panic but i saw this photographer standing on the edge over the crowd and he was traveling with kennedy and i went over to him and he must have said something by desperation, how do you get in these rooms? how do you get to this crowd? and he, said hang on to, me kid. and he sliced through the crowd and he got me up on to this place and this is where i am. so with robert kennedy, and not only, then he said kid, this is where you're going to get your best shot to see the crowd, to
see the candidate. he was actually a candidate then. and this was the angle that i had. and a closer upshot, which is from the same spot. and to this day, these photos stand up for me but what happened after this affected my life in a profound away. i followed the motorcade up to the portland airport, there was an old d.c. three on the tarmac with the propellers twisting and it was robert kennedy's plane, he got up and went inside but the photographer, bill lethbridge, of life magazine, linen, door, closed plane to cough. i've never had a feeling like that. i wanted to be on that plane, i wanted to see wet not only was he was doing, but where history goes. how do you follow history? and that wasr9 me. room with -- in a period, 66 and 68, which
is now more remarkably, more than half a century ago. that began to shape everything after. 1968 is, in many ways, the beginning of the era of which we live in. >> it is. and so, two years later they get on that plane and this photograph, here, taken by local photographer is right here in tucson. and kennedy came in from new mexico to here, to give a speech then he went to -- he was here in centennial hall, and in front of old maine, there were two locations for that. then he went to window rock arizona, where he visited the navajo reservation. and i was with him and this is me taking a photograph of him getting off of the plane with ethel kennedy. and right after, we figured it was march 29th, it was friday march 29th, 1968. which i care argue, was the
beginning of the most significant week of the modern era because, rfk is here with can early. and at that time, that was known as the most significant party. it is now. but, lyndon johnson gets out of the race two days later. martin luther king delivered his final sunday sermon and washington national cathedral, four days later. four days after, that he was shot to death outside of room three or six of the rain motel. bobby puts on his brothers overcoat and announces his death to that crowd in indianapolis. and so, in almost every inconceivable, where you have the end of an old democratic order, the murder of doctor king and the hope that was bobby kennedy. >> and then two months later, i was working for upi in los
angeles, and i was at the ambassador hotel with robert kennedy. and just a famous few minutes before that, i was upstairs and i talk to robert kennedy and i took some pictures of him -- who recently passed away, and bill death rich was there to. and then i went downstairs to cover the rally. you can talk about what happened there. >> he'd only go in the race a couple weeks before he came here. remember, jean mccarthy was the one who gets the credit for bringing bobby into the race because johnson was weak, the year had begun with ted, mccarthy surprises lbj and you hampshire. bobby gets in. and there were his last words, wish you heard, it was on the california. it's on to chicago and let's win their. because he didn't know if he'd
get the delegates against -- to challenge nixon. >> so this was essentially the last picture of robert kennedy alive and he gave this little quick peace sign, when into the kitchen where bill was in there and he was shot by, and made an incredible photograph of one of my colleagues with with him also. and i heard that something had happened so iran outside, and i saw and still in the back of the ambulance. and took this photo through the ambulance, and it was shocking to me what had happened. and i did see, the senator after that. what -- this picture. and it was the idea of intruding on somebody's reflect. that's not something i like to do or i don't think anybody like does, but i did it. and many years later, i asked
mrs. kennedy, i told ethel how bad i felt about it, and she said, don't worry. you're doing your job. and she understood. those people lived in the public life forever. and 50 years after this day, after the family invited me to be at the grave site with him to celebrate the life of robert kennedy on the day of his death. this is the picture that i took of ethel. and you can see, being a photographer is about getting through the veneer of peoples soles, really. and she had lived through it so much. and i caught this one moment and really, the senate is evident. >> so our theme, really the hallmark of your career has been being at arlington. being in the room. what does that mean? >> well, it means to me that
i'm the other person in a place where history always says, and i'll give you an example of it, for instance, when george bush meets gerald are ford, the president, and they talk about him possibly becoming the vice president of the united states. and bush was he not republican national committee chairman, and having a very rough time, i would say. >> one second prize. >> but i was in there and history says that the two met met privately, but that was it. but i was the third person. and, to me, this is like a photographer never repeating stores, really. and having the trust of the subject to not talk about what you hear, president ford once said that my gravestones agreed,
here lies the worst source in washington. and they trusted me. and in the room, also means in this case, in the theater for. it's like a big idea of being in the room. my whole life has been around traveling around the world, trying to get the moments. >> i think one of the most remarkable things in what you've done is here in that room with george bush and gerald our ford. >> you should just call them for -- george bush back then. george w. became 15 item. >> he was at a kellogg party at the time. he would tell you that. >> he would tell you that. >> so, that's the pinnacle of power. that's the commander-in-chief of the united states. that's a man who would become
cia director. that was the powerful, that was the highest point in our system. but you want to the places where the decision is made in those rooms had realize implications. >> that's right. and by the, way john and i work together at news, weekend this was my first cover which really killed my relationship with -- but, as you remember well. when i first met john, i was in meeting with the editor of news week, who is in 1995, he wanted me to work for the magazine and cover the 96 campaign. so jon meacham walks in, and maine are parker says, i'd like you to meet our nation editor, jon meacham. and i thought he was an interim taking coffee orders. he was like 25, maybe 26 years old and looks way younger.
you've probably carded most of your life, right? >> i had quite a bit of hair dye now. so i try to use that. >> it's okay, at least people haven't referred to you tonight as wrong turn all. so, this photo is one of the first -- >> quarter did early and we ended up with a fantastic relationship and he's the guy who was picking the pictures that i was taking. >> and with the toe picture, with the clinton picture, when you're the guy back in new york or washington, you are seeing these images, it's really kind of a three prong test, right? you have to have the image, the words and the ethos, they'll have to line up. and i would say this behind his back, no one ever produced what we needed better than david.
and, the dole cover was at a particularly plum moment in his early campaign. and he would call to complain and you always knew who was because he always referred to himself as bob dole. bob dole is mad! sorry senator. but, then clinton, this is a little rock, right? >> little rock election night. by the way, i was with dole and toll was shaking by that cover because -- it's like this grim partridge. he was dropping in on former president bush and governor bush, excuse me. and they were sitting together and he pointed to me, he said, you know dave cattle early,
he's the guy who just cost me five points in the polls. he was really mad. anyway, go ahead. >> so you need the marriage, because what percentage of your photographs have been published, would you say? >> i would say maybe 0.1% of my pictures, which is one of the incredible things about having the archives there that people can go back in the archive and look and go through pictures that hopefully will have all these can't online at some point. but the context, like all these other people in the room, like thousands and thousands of pictures you've never seen and you have a chance to go back and say, well there stick cheney when he was the chief of staff of the white house, you know. >> well, hi envy -- >> where he became darth vader.
>> he had most of steve his own body parts then, right? >> no i envy, high use that word advisedly, when the center for creative photography has here, because this is the wrong material of what people like me do. it's more valuable in many ways then oral histories or some of the documents because you can actually -- people like me spend time trying to recreate what a scene looks like. imagine a world, that you know have here, where you can just go see what it looked like. and, the raw material of that. imagine if we had -- david try to shoot the constitutional, but didn't get credential. >> they wouldn't let me in.
moment that bill clinton had made that statement in the room full of ministers. and, we went from this to impeachment. that's a subject that's pretty hot right at the moment. and they came out, this was right after clinton was impeached, he came out with his vice president, and everybody and the first lady. but what's really interesting about this picture, the beauty of archives is look who's standing behind hillary. >> it's either is a lake are bernie sanders. >> i'm not sure. >> wait! why is larry david in there? >> and so, here you have -- this is where history springs forward hand now bernie in 2016, iran against hillary, it was one of the reasons she lost probably. and he was a congressman and we
were standing out there. and then, when clinton was try to the senate, acquitted, shocking outcome. makes today's, why did they do that? but this is in the rose garden. he came out and made a statement after the acquittal. and as a photographer, i'm not just looking for a close-up of bill clinton. but i saw the shadow on the wall, and these pictures didn't happen vaccinate. . >>. >>. >>. it you he lets talk about what photographs to, one of the most important things they do is they reveal meaning. arguably, the quintessential moment of post war politics,
unfolded right here. probably about 11:15 am, on friday august 9th, 1974. >> it was and i think we can show you a video, this is how i saw it and those of you watching on tv, hopefully most of you weren't born yet. but watch how fast this happens. nixon gets up, this is a man who just announced that he resigned the presidency. he's on a press stand i'm ana preston watching this whole thing, and my secret of pitchers which you see here. if you look at the lower left one, that was early in the role. when i saw nixon getting up there, i turn the camera like that, in order to keep the flag in. you know it's funny i remember that moment. because that is a big decision
for a photographer. and more importantly this is the first frame as he steps up, and if i were richard nixon, looking at the white house. the white house is like right there. it's huge. the helicopter lands out there, and at this moment, maybe i am just projecting here, but it seems to me that this was the moment of realization. the sad brief in i'm seeing this place for the last time, and today he's the only president who has resigned the presidency. in the photograph i always thought was a better one, was this one. but after looking and studying these photos over the years, this is the classic, if you saw the wave in the green, of richard nixon. it was just to date, this is one of the most stunning offensive ever covered but moving forward, here it looks
like a campaign pitcher but the context of this, was at the staff came out and they were applauding, and he did this you know like a campaign rally, he was noted for this kind of thing. but it was not a campaign rally, it was one of the darkest moments of the presidential history. >> and this is what you all have here, because you go and you can find this. because you saw the video. and that is the image people remember right? >> yes it's weird. it gets published all the time. and that was not the story that really was not the story. maybe everybody just missed the first part of it. and you know it's like you have the only photos of nixon looking grim. >> there are other photos that exist. >> no there were there were. >> and here is vice president ford, waving goodbye. and you can't see through the
reflection, but nixon is sitting in the helicopter, and in the next moment, the forwards walk away, and this man is going to be president of the united states in about 45 minutes. i asked him later, i said what were you thinking about when you walked away? he said all i could think, was that i wanted to dig in and start work and this was such a moment. for all of us. >> and he went in and he went to the east room, and gave one of the great and logical addresses in american history. talking about how we were a government of laws, you know that our long national nightmare was over. >> and he provided me the title to my book, which is extraordinary circumstances. he said, i assume the presidency under extraordinary circumstances never a before experience by americans. and that night, when he became
president, he invited me over to his house and i figured he was going to ask me to be his white house photographer, but he never talk to anybody for fear of looking like he was trying to push nixon out, it's like well you know when i become president i'm going to do this but. but you don't make you secretary of state, and do that. well not you henry you will stay. but the brief history of white house photo operations, or white house chief photographers, you know atkinson was nixon's photographer, but before him was -- with lbj. he had unparalleled access. he took you into the oval office, and i based my white house photo career on his. and he would really get you in the room, while things were going on and then nixon had given him no access at all, so
as someone who is about ready to become the third chief white house photographer or civilian photographer, i sat on the couch with president ford, his little living room in alexandria. they didn't move into the white house for another ten days. and he was smoking his pipe. and he asked me to be his white house photographer. i looked at him in the eye and said i will do it on to conditions. one i report directly to you, and to i have access to everything that's going on in the white house i was 27 years old, i'm a kid from oregon, i was brought up under modest circumstances. and he quit smoking his pipe, and i think it was a shocking moment. then he started laughing, and he said you don't want air force one on the weekend? and so what, i got the job
[laughs] the next day i'm right in there. and look at all of nixon's stuff has been taken out. you have a man who is comfortable in his own skin behind the desk and also, i'm right there in the office with him >> let's go back to that for a second, because it's. just a great deal about your. capacity to make other people feel. comfortable when you around. but. secondly it says a hell of a lot about cut gerald ford his sense of confident in himself his confidence in himself as i can follow me around. i have nothing to hide. >> it was incredible, and i think the one thing, about him but you could see it there. lbj i believe and his photographer had told me this, he said lbj did it out of a sense of vanity, and wanting to be documented. it was a different motivation.
where president ford i think, he wanted to have me around. and we really became friends, i became friends with the whole family mrs. ford everyone. but he was comfortable, and he never at one point said don't run that picture. i don't think he cares about the picture. i could picture him in his pajamas, or in the swimming pool, and he never said don't use that, for i don't want to see that you nor i want to see it before you put it up. but lbj used to do that all the time. >> well you made him laugh to. >> yes, not all the time but yes. the he got mad at me one time. >> the shooting story? >> no it was right after he pardoned nixon, and i asked him two days later, the win there was this avalanche of negative publicity, and we are in an elevator and i said, do you think, and i can't believe i said this, do you think that by pardoning nixon on a sunday morning, that nobody would
notice? three and he said, he got really at me, oh my god [laughs] anyway moving along. >> so you're training obviously, was not entirely in washington? you are at the front. right? >> i was at the front indeed. and when photos, we say they go to the heart of the story. i left for vietnam, in 1971 i was a rare case by the way, i joined the army the national guard, i did all my basic training and all that, and then i had to get out of the army to go to war. but because you know lucky, i worked for general who worked
that out for me, so i went to vietnam but it was really important for me to go i could not be sitting here with you today, and making some excuses my=$úhfour of my high school classmates, from west lund high school in oregon, they were killed in vietnam. and i was a class photographer. i did the annual, i did the newspaper, and these were guys i knew and so i wanted to go and see for myself what took them away and i wanted to show the impact of people you know that came from decisions made by folks sitting halfway around the world but mainly i went there to cover the story. so it was the first to have picked up a camera and it's been a mission for me to do that. >> and these are all photos briefly on the pulitzer prize,
for photos i took in vietnam and cambodia and india and refugees from east pakistan and the ally frasier fight was one of them so there were 11 photos in the portfolio. >> so this suggest you are in danger you are under fire. >> part of the job was going into the danger you can avoid it. my first book shooter, i dedicated to my colleagues were killed in vietnam. i think there are 17 of them. but photographers have been killed in war forever. like right now. and it's part of the job have >> i am part of the job is not getting killed. i don't want to overstate this. >> then you come to something like this, and it doesn't look like your classic war picture. >> it is not a war picture, but it was taken in war, several hundred yards from an active
fire fight. and that picture of the vietnamese soldiers, and cambodia was nearby here. and this photo, believe it or not is my favorite photograph, of the pulitzer collection. because it's a photo of optimism, and resilience it's like life goes on. and it goes to the core of who i am despite all of the horrible things that i have seen and my colleagues have seen, i still believe that the you know i believe in the better angels as you would put it. >> well lincoln used to say that. [applause] now president ford you. since you back to vietnam. >> yes vietnam as it was falling, that was april of 1975, actually march and the north vietnamese has had invaded, and
he was dispatching the army chief of staff, he was a vietnam that. to see if anything could be done to skim the tide of the north vietnamese coming over and i did my own mission. this was one taken in cambodia. i saw people dying in -- they were surrounded by the omer rouge, and then i went back to vietnam and i was up in the train when it was evacuating. and by the way, these photographs could be taken today! this is going on right now, somewhere. in fact, the turks are going after the kurds. i mean, this is never into it. but i photographed the chaos, i saw a ship loaded with fleeing south vietnamese troops coming into high long bay. some of then shot at our
helicopter and ap did it story on that and said the president for talks before has been shot. at and my parents saw, that it was a secret trip allegedly, so my dad picked up the phone and called the white house and asked to be through to the president of united states. the operator said, who is this? and he said i'm david candidates that. and i had a great relationship with the white house -- nobody ever did. that they just plug them right through to the president. and he said, don't worry about it. he's already on his way back. and when i came back, and general wind gave his report to the president, but i show up them something the president they had never seen, and it was a personal photo oh graphing report of what was going on over there.
i had pictures of people dying, of the refugees and i had told them about the vietnamese friends of mine that had asked me to take their little kids out with me. they knew i was going back to the states. the place was falling apart. it was really difficult situation and i was emotionally wrapped up with vietnam. i had been there for over two years, nonstop. but, the president looked at my photos, black and white pictures, and said, i want these up in the west wing of the white house. and you've been over there, so. >> that's a remarkable thing. because if you haven't been in the west wing, one of the ways they decorate the holes. it's a very contained space. we have this image, i think sometimes when the president walking the halls of the white house, what they see or pictures of themselves.
they see pictures of the easter egg roll. and they see pictures of the latest parade or stop somewhere. it's a kind of enforced solemn d.c.. and for president ford, to use that real estate to put the attention outward and not in award is yet another testament. >> somebody not knowing the president was involved in a decision, took the photos down in the present got really angry about it and the issue of the plot permission to put the photos backup. >> this is a historic moment. you are again in the room as the roosevelt room. in the west wing. when the national security council made that final decision. >> and it's an ironic moment
teddy roosevelt was the charge to hell guy, nobody is talking the president is >> but wet had also happened, one of those top advisers wanted this to get the kathy americans out against the enemies. >> talk about your mission in which can quinn, who was later in ambassador -- >> and icy guy. >> had talked about the fate of refugees. >> well, i couldn't believe there were people who didn't want vietnamese refugees to come out. and, so i was very involved -- i convinced the proud president, which didn't take much convincing, we needed to keep the doors open, we need to evacuate vietnamese and bring them in. this was not a hard call for him. this was the most humane human being overrun. to kind of like our current
president. and, i think the pictures -- the pictures got to him. the plight of the refugees. so, under his watch, over 130,000 vietnamese came in and think about that. they become a great citizens of the country, their kids, their grandkids, some of the most productive people we have and it was because -- but it was one of those moments where photography, the power photography became evident. >> and that's a hugely important lesson. historically and particularly in the academic lesson, in an era where many people have declared war and war on self evident troops isn't old american phrase. whenever evidence can be presented that will can palace to open our eyes worldwide is important -- >> prison ford was on the wrong
>> i have a very snowy sauce but he's already been rediscovered in many ways in george bush and then, but he was in many ways, and eisenhower like at a critical moment in life of the country. can you imagine if we've would had an egotistical, insecure, i know this is hard to believe, i mean, the movement from gerald ford and the incumbent world, right? we will move on. >> let's move on to something -- >> something equally cheerful, given our current here.
we will talk about mass u.s.. right jones down. 1978. the students will not remember this, but the 19 seventies were a chaotic time, they start with charles mansion at the murders, has the age of aquarius kind of wanted to violence. a lot of millennial movements. late break planet earth. and, there were apocalyptic profits. and one of them was jones, who took people to ghana, put cyanide in that bucket that you took a picture of, and massacred, condensed -- and condensed the parents to have their children. leading to the most significant cold massacre. of modern times.
and the congressman went over, the iran, member him? one of the few assassinations in the history of congress. was assassinated when he tried to break this up. >> and his assistant, jackie stairs, the person from his district, now she was with him and was wounded down there. but when we heard about it -- >> you get off the plane and that's where you see. >> well, that didn't just happen like that. but just getting there was a remote place in the middle of the jungle in ghana and we heard leo ryan had been killed. and there were other people possibly involved and it was that we didn't know. it wasn't today, like where you couldn't find out in an instant what's going on. and we were doing a story with don f from time magazine. we were doing a story on cocaine trafficking from columbia. it ended up being a cover story.
so we chartered a jet we flew to diana. we managed to get out to the area, and the story was there were troops, like advancing on jones town, and they were being held off by these people as we got closer and closer from our plane that we were cl95min i sal these people down and around you know look there are hundreds of people down there, but as we got closer a came the shock of my life. they were all did and this was, really and i have been in a lot of combat, everything from vietnam to, name a war. and nothing prepares you for that. nothing. and this is the only living thing in johns town was his part. and to your point, there were little kids around and this is
the only story, that ever gave me nightmares. and it is hard to imagine. >> so that is how you come out of an experience like that? >> in this case i came out of it like you know i could still recall, the night like the one that i had and it went on to we went on to columbia, and i still remember the nightmare and fortunately that is in the past as and i think, you know i'm really lucky and i appreciate people with post-traumatic stress disorder because it could be anything, just getting missed by a car, but i never as you know unlucky but that didn't happen to me and i know i had colleagues that happened to. >> so the other roll or one of the other many roles of photography is to as you know
tell us not only about tragedy but to inspire us. >> yes ok so cockier had called it the decisive moment. but in the archive here you know i didn't really get into it but and so adams was a friend of mine, and i did you know you saw the cover in the film of and slams who to date, is the only photographer who's ever been on the cover of time. and i got to know him, and we became friends and i was at one of his workshops in yosemite, but they are all these other photographers, great photographers, and when i say the decisive moment smith was one of those kind of people you know edward weston these are all their own different planes and what's great about this collection is that i would say that jean smith he was a
photojournalist. and something great portraits of people and the street photographers, an on and on and to be in the company of those people. quite frankly it was overwhelming for me. but in the decisive moment category, i'm going to show you the film of ali frazier, march 8th 1971, and this is at madison square garden. and you have to look fast but oh my god he is down. all right imagine trying to get a picture of that. that was the 15th round, of this fight of the century. and the photograph i took it was right here, which was also as this was one of my surprise photos. you know joe frazier, you know apparently joe had this blown up huge in his living room. and somebody took a picture of him standing under elie like
that, like he's going to catch him. but this is alley in mid air, and you saw how fast that happens. and the pitcher march 9th 1971, and it was my 24th birthday. and the day i left for vietnam and wake up and see this, was to me like you know i almost didn't want to go to vietnam. i just wanted to hang it up after that. >> well thank god you didn't but i can understand. >> okay here we go. >> so freezing time. let's talk about the world's longest election night. . you and i do this together more less. >> we did. >> we talked all through that night. you did a new much for more than most folks did. >> but i would never tell you anything. . the >> it must been really frustrating for you. >> so when i saw when do i see the pictures john? >> yes yes. >> walk us through this. bush versus gore >> this is
where the moment were al gore had already calling conceded the election, and florida finally came around, and watching that count that night, you know it went against no it it looked like bush was going to lose, and then it came even, and i don't know at the time was, but almost every ten minutes or so there was something else but it boiled down to florida. and bush, in this photo is looking over his speech, to give the top, but then they are getting ready to go. this >> is the texas governor's. yes >> this is ox austin texas and the guy in the right, is john evans, who is a friend of his, and that was his campaign manager. and he had just been on the phone with bill dailey, who was gore's campaign chairman. and they were running a little bit late we're going over to
you know where wasn't? >> gore was going to the war memorial auditorium in nashville. and they now dubbed it's apparent it's apparent, florida starting to tighten up again and i'm going to show -- yes. flash forward. about ten minutes out, i took that picture calls all bush -- i didn't know but bush typical for the sake of florida, i was there, but i was in the kitchen. have you ever been in that? place it's not that big. and i was in the kitchen, getting a drink of water, and bush comes down the fairway and i'm the first person he sees after he talks to gore. and he says, to me, he took it back!
he took it! back he said it twice. i said, who took went back? [laughs] and he said, gore just called me and took back his concession. and i didn't know with the same ally said, well that sucks! [laughs] articulate, photographer moment. and he went yeah, so he walks out, goes into this little room where everybody is there and, so of course i follow him, this is big news. i'm going to walk you through a picture, the right way to look at the photograph and i've never done this before. thanks to congress to and her great team, they put together -- you can see, it's ten after two. and it's, now we have to spin around and i'm going to show you the whole photo. and this is the moment. it's like ground zero. this is the single most dramatic moment i've witnessed in my years of doing politics.
and, they're all in there and there's just this sort of little tiny tv that are watching. and will go and take a tour through the faces here. the bushes, and mrs. bush, looking a little bit uptight, i would say. but, i can actually approved that because if you look at her hand, that is not someone who is relaxed. >> no. >> is my guest, no. and, george w. bush is still in a state of shock. he still thinking, he took it back, i'm sure. i mean, i would be. and there are the chinese and by the way, that's when who are went over with that night. there were two other photographers and. their time and newsweek. you had charles omani and the guy from time. when everything was going well and they won, when it started
going south, they kick them out. but there was no one around to kick miao. i knew all the players. so behind deacon lynn cheney is a horrible picture. it's his daughter mary, and her partner healthier. they later got married but mary cheney was kind of the chief of staff for cheney on the campaign. and we go over to dick cheney, that's about as flat advise i've ever seen. and he's a pretty cool customer. and h.w. bush is on the phone and i made the mistake, somebody asked me, who is he talking to? what was he doing? i, said well i was thank you was putting 50,000 on gore. and barbara bush heard me say it. and she goes, -- this is another pardon in the elevator moment. oh yeah, that was not funny.
that was really not funny. and then gone evidence. but really, this is a man who has seen his life passed before his life. >> this is best understood as jab is about to become the wasp greater. that's with that was about. >> this, jeb bush had been celebrating the victory and had two or three cocktails. and, he's very sober at this point. this is his state. he's the governor of florida, his state is going to lose the election for his brother. and so, will pull back out, so that gives you a tour of history in a still photograph. and, of course i learned everything i know from canned burns, probably. well, right with move head. >> so, you can't always do that one image, so here's secretary
clinton at the beginning of the night. what's going on here? >> well, secretary clinton, yes, who was at this point a 26-year-old lawyer on the impeachment committee. this is the nixon impeachment, it's becoming a real thing. i'm kind of figuring i'll be there for number three. i'm an impartial observer, i mean i'm not asking for any of this. if it's going to happen, i'm going to be there, trust me. so this is 1974, and we're going to see the evolution of hillary, this is her before she married bill. and then we go forward to 1993, two days before she becomes first lady. a little bit different hairstyle, she lost the
glasses. and then, 2001, this is hillary -- senator hillary clinton. this is january 20th 2001, this is right after bush was sworn in as president. and i love the present picture, bush isn't -- as you know, mrs. bush, barbara bush,!z]1v referred bill clintos the black sï.( family. is that? right >> she didn't like it when her son sometimes, bill clinton had become a brother from another mother which he was not a big poetry person. >> and then, i just tracked her whole career and this is a photograph i took for political magazine. as she's running for president, against bernie sanders and
company. >> so i've as we've seen, images help us understand events unfolding. we can track chronological, we can see an hour of crisis. but, one of the reasons you went into this and you saw it with the cat, you had gone forward is just the complexity of every kind of human condition. ups and downs and everything else. >> i've been really fortunate to do this. i mean, you know what it dwells down two for me? it's all about being serious. like, what are these people thinking and i look at this photograph of john kennedy and
john mccain, taken in 1997, so it was prior to both of them running, both of them became candidates of their parties. they were political opposites, war vietnam war veterans, friends. and one of the things that mccain told me was that he wished that he and carry -- because they ended up running against each other. they had differences about a lot of. things they said we would like to travel around the country in an airplane, and get off with each other. can you imagine? when was the last time that happened? >> lincoln douglas and that -- trump thought it was frederick douglass. he's doing great work. we've never had a presidential do that. you know who talked about it? since you asked.
if jfk had survived, he and bury gold water talked about it. since we're here -- >> and they were both senators. they respect each other. and, so that was a possibility. one of the many tragedies. now here, -- >> i mean, i think when you look at justice o'connor and justice ginsburg, and then you look at that dead white guys around them. you realize that yes, progress is awesome. >> progress is possible. senator o'connor and i became very good friends. he's from arizona, of course, and i just visited with him recently and, she was just a
great person. she was a mother who raised three boys and a conservative -- conservative republican, inherent current ginsburg were best of friends. this is the female equivalent of that other picture. president ford really loved interacting with the press. he was one of those presidents who actually believes in the constitution and for a second, -- but he would interact with the price and he would always call on sarah mcclintock, who is a reporter from a little newspaper chain down in texas. and she would always ask him some totally off the wall questions and his press corps secretary said, mister president, you don't have to
calling her sarah. he said, i just can't wait for her to here which he's going to ask me. >> yeah. >> but in this photograph, you see also historical elements -- talk about the crews of the photos. film cameras, and then a video. so this was really at a transitional moment in media. this is where everything changed the more immediate coverage. red before it gets digital cover. 1976. >> now, as we're watching the press corps work here, we're not just looking back has the power of photography, the power of history, the power of journalism pushed forward. first amendment and the ethos,
which you major living any remark. is under salt here in a way that it has not been released 1798, and when john adams tried to outlaw the press. >> he thinks john adams -- like a beer? or a beer, yeah. >> that was his brother sam, they're both doing great work. >> talk about this we've been called the enemy of the people three minutes >> information which some people don't agree with, it's dismissed as fake news. you've been doing this along time, you've been on both sides, innocence even inside the
recording history, you've been on the outside recording journalistically, how do you feel about -- >> i mean, i would see -- no record of the walls, there's not one president who hasn't been unhappy about what was being written about him. but of course, of the question is, understanding why that happens and where we need people to do it? it's really not a complicated but i think i covered -- it would be there when he would be running in the media out there. and the precip, whatever. and, it strikes me in my gut. i hate what he says. because i have been covering wars and not just me. and we go out there and by doing what we do and that's a first amendment right. and if it wasn't for writers, the photographers, you would
have no idea what's going on out there. and most politicians -- [applause] and yeah, people get it wrong. i mean, newsweek never got it wrong but occasionally, the new york times put a correction. it's important when you make a mistake, you own up to it. but i think, when i hear somebody attacking us, the group, that it's so deeply concerning to me. i can begin to tell you. >> philip graham, the washington post guy in the founder for the modern newspaper who helped the populists the phrase seeing that journalism was the first rough draft. and, when david and i first started working together,
something in the magazine was not quite right. and, a united states senator called -- on that monday morning, to register his displeasure. she then registered her legislature with our friend, evan thomas. and i was in his office and i could hear the wonderful voice. and evan said we will fix it, but it's just the first rough draft of history. i heard that amazing voice say that. but it doesn't need to be so rough. so it's rough and we are trying to make it not that rough. that's the goal. and there she is. speaking of formidable women. >> a formidable person. one of the greatest human beings i have ever known, and she was someone who gave
bravery a new name. she had breast cancer, a mastectomy, and her staff was talking about it. she went out and said women need to know about this, what's going on. her husband stood by her there. when she realized she had a problem with drinking and all that, she went to a drug rehab center in long beach. she came out and established the betty ford center. she saved countless lives. and on this day, the last day that the forwards were in the white house, she was walking around the west wing saying -- the gallery of dead white guys. mrs. ford looked in there and said i have always wanted to dance on the cabinet table. the secret service agents, i
could say they didn't believe this. but she had a certain mischievous look. >> and she was a dancer. right? >> she was a martha graham dancer. she was incredibly agile, i guess would be the right word for it. so she took off her shoes and climbed up on the cabinet room table. if you've never seen this picture before, i am guessing you will never see it again. but what she was doing was she was planning this feminist play right in the middle of the cabinet room. up to that point, very few women had sat around that table as cabinet officers. president ford had worked. but it was fun and it was kind of the best of betty forward.
we can skip belong to one of your favorite guys, why don't you set up what happened in the state of the union? why are they sitting up there? what's going on? >> one of the few constitutional requirements of the president is to provide information to the congress on the state of the union. it was not what we think of as the spectacle. washington and adams both went to congress and gave a speech. jefferson was not a good public speaker so he moved it to a writtenin9>- document. no presidentl wilson actually began this process, that is now the annual ritual we have. by constitutional fiat, the vice president of the united states, at that time george bush, the president of the senate, did the only thing you do as you wait for the
president to die. the speaker of the house, thomas peele junior, democrat of massachusetts, ronald reagan as president here, and they are waiting for president reagan to come down the aisle. >> john used these photographs in your book on president bush 41. i have no idea what the joke was, but it was tip o'neill telling it. this is a great heartwarming moment for me, because the two guys are yoking it up, waiting for the president of the united states to come into the room. this is in the house of representatives. they are just laughing in front of all of us, but everything changes when the senate comes in and says ladies and gentlemen, the president of the united states.
[laughs] [laughs] i love this so much. >> as david said, i wrote a biography. >> is that available on amazon? >> probably. i showed those pictures of the president and said do you have any idea what we are talking about. he said no, but tip was very funny. >> here we are in geneva. >> in geneva. >> i got a major league scoop for time magazine that didn't go well at news week. this picture i call the bromance photo, but it is insight into the characters of ronald reagan and gorbachev, the first time they met. it was the fireside summit had just broke out. this is really the reaction.
there were two other photographers in the room with me. reagan just charmed my kayla gorbachev. you told me you had interviewed gorbachev. what did he tell you? >> the two critical moments at the end of the cold war in terms of the americans the elite with gorbachev directly was this summit, geneva in 1985, and the way president bush handled the fall of the berlin wall in 1989. but this was incredibly important for both men. for one thing, reagan had come into office, as you will remember, as a ferocious cold warrior. he said himself during the 1980 campaign that people think i'm a combination of the mad bomber and ebony's are scrooge, and he
knew he needed to overcome that. but he couldn't meet with the soviet leaders, because as he put, it they keep dying on me. they keep dying on me. so his predecessors all died. and then they get this 54-year-old breath of fresh air, and reagan, margaret thatcher told reagan i think this is a man you can do business with. that led to this summit a year after reagan gets reelection in 1984. >> because i was in there with him, they could have staged the whole meeting. there was no one other than the interpreters just going on their way. >> that might have made the cold war last longer. >> it could have. the way reagan handled the media, he was prepared for it.
it was pretty incredible. >> the reason reagan could make that stuff work is because his central job before coming president was not so much governor, not so much being an actor, but being the head of the screen actors guild. for eight years, he had negotiated with all the studio heads. people said what's it like dealing with gorbachev and he would say you never met jack warner. [laughs] >> and he was a democrat at the time. >> i didn't know president and mrs. obama, but i was one of the photographers for the inauguration, putting out this book. the photograph of them in the elevator, the big freight elevator, on the way to one of the inaugural balls, to me it really went to the heart of who these people are. if i make a picture like this, i love the idea of a picture, but the main thing is i think i reveal something about people
that i didn't know because i hadn't covered a campaign. pete suzanne ended up being obama's photographer and was in there. look at this. it's like a high school prom moment. you really learn something about who they are. >> fantastic. >> and you learn something about who he is also. [laughs] >> as i recall, this was the first time you shot him. >> the first time i photographed him. [laughs] [laughs] [laughs] you've got to be careful these days. >> mister president, watch it. has he changed? >> does it look like it? [laughs] [laughs] i would say no. but i was covering the campaign for politico and then for cnn. i covered it down the pike. i spent some time with phil
reid during her campaign. i was going to be covering and watching trump lose the election, i thought. in fact, the night he won i was in the new york hilton ballroom and all these people called me and said how did you know. i said you never hang out with losers. the main thing that happened after this was we convinced, through our people, there was a guy who worked at time warner, cnn, doing a book called unprecedented about the election. it came out right after the election, but it had hillary and donald trump on the cover. one of the guys knew jared kushner and called me and said, look, we'd like to have a special inaugural edition of
the book with just trump on the cover. obviously, -- >> that's not a tough sell. >> that's like catnip for trump. so they agreed to it. i got a sit-down session with him in his office in trump tower. we sat down and he is smiling. my first photograph of him was this. i thought, this doesn't look natural to me. i covered his whole campaign. i rarely saw him smile. >> i think he looks like joaquin phoenix and the joker. >> i kind of got worried about this. i thought here is a guy who can take direction. he won't listen to anyone else, but photographers he will. i said give me your fired look from the apprentice. he did this. that was good. but i thought they will never put that on the cover, although if they've got legs they can
stay in business. we ended up with this photograph. if you watch cnn regularly, this is the picture you will see all the time, the one they use. but during the session, by the way, this photo session lasted, all in the digital meter in the camera, about two minutes and 15 seconds, the whole photo session, 17 pictures. but about four or five pictures, he wanted to see the man he looked at the back of the camera. he said, wow i look better there than i do and realize. i said that's almost like a funny thing. i didn't know he could joke. i said so you are going to fire jared? once i didn't get in trouble he said jarrett is okay. the book comes out. he tweets that cnn has an election book out, and i wish
him luck, worst picture of me ever on the cover. okay, moving along. >> let's get back to normal here. here they are. tell the back story. >> this was a picture in the oval office. george w. bush, the president brought obama, president-elect obama, over to meet with the former presidents club. from the front, there was a controversy where jimmy carter was kind of standing away from the others. you can't see it at this angle. but the important thing about this picture for me was first of all, getting it and having it be good, but they were not going to let me into take it because i was working for the barack obama inaugural book, not a big item for them over the bush white house. there is going to be a rose garden event where all the presidents would pose for a
picture and everyone could come, including me. there was bad weather and they decided to do it inside with the pool. i wasn't going to get in. i pulled the ultimate card. i called my friend cheney who i had worked with in the ford white house. i had his private number, right on his desk at the office of the white house. he said dave how are you doing. i said do you still have influence over there? he said not much. [laughs] [laughs] i said i need to get into this picture. i wouldn't bug you about it normally, but this is really important to me. i was there the first time five presidents were together at the reagan library, when bush senior vice president. he said let me see what i can do. two minutes later, the phone rings, and it is the press secretary for bush. we want you to be here. so that's how i got in.
and i think our last moment here will be certainly the favorite picture i have taken in my career yap. just the background on this, was -- one of my principal clients of bank of america and they were one of the big sponsors of the african american museum so they asked me to go and shoot this event. which was a great event. it was actually one of the most emotional things i've ever seen. and, but when michelle obama came walking out, there was just this brief hug. ?n$■ their eyes closed its like, the picture screwed up. in this case, it just made the photo. >> i just want to, say historically, this captures the
best of who we are at a moment where in many ways, we were commemorating how we had moved as much as we could from the worst. in a museum that has so much to do with slavery. and, i think one of the things david camerawork shows us that were just trying to get to a more perfect world. not a perfect one. and if you're looking for an image of what it's like for the struggle between our better angels and our worst instincts, when our battle angels can win 51% of the time, it's a pretty good percentage, you get an image like that. >> and also, i became a hero with my three boys because the picture went viral. >> which you thought was a medical term. >> i did! i thought there was something that they had no cure for. as it turns out, a lot of
people see this picture -- this is a much -- this photograph with some really funny stuff. and i -- >> a quick final thought from me. david is obviously my friend, but i am someone who, like all of, you live in the light of his achievements. i do. shut up for a minute. highly uncharacteristic to see if you can do that for a second. david is an architect of the culture, and is a part of the culture that matters most to all of us, because it's the history of the republic and republic, the original latin word means, the public thing. and, the stories he's told, the moment he's captured are the moments that have shaped the way we live now. and, i can't imagine a more fortunate pointed then the university of arizona to have this event here.
>> thank you. [applause] >> we're now going to bring out somebody who actually know something about all this. and breckenridge bear, the director of the center of photography will join us. >> even had a chair coming for you. >> we'll get a little nick can early music in here. >> it's that in a killer liu regional? >> it is. nick, are you going to send -- sell cds? >> we can set up a little table. thank you both. that was incredible, wasn't it?
[applause] so, we're going to do the q&a portion now and my husband's probably out there cringing because i'm not great with technology, but you are going to text your questions and they're going to pop up on my ipad and will go from there. there is the number. here's one for david. why did you choose the university of arizona? >> well, this is the best place for photography on the planet. >> i agree. >> you're the senate chair for photography, as i mentioned earlier, this has an all-star lineup of great photographers, until was being a foundation for it. john schaffer, dr. john schieffer tried to get me --
try to get my archives in 1979. i said, hey man, i've only been out of high school ten years. but john, thank you. you must have seen something. 38 years later, here i am. >> he had the vision. this is a question for john. dear sir, in the last print issue -- >> just talk with a dear sir, i like that. no one ever done a. >> dear sir, in the last print issue of newsweek, you wrote that the fate of journalism is uncertain. that was december 2012. as of the few worries rage against truth and responsible language, how do you feel today? >> i think the fate of journalism is uncertain. i think that journalism as a enterprise is facing unique
pressures, both culturally and politically, which we talked about. but also economically. i would draw -- i try to make this point, i don't know how useful it is. i think the media is one thing, and the price is another. we are all part of the media, you have a phone, you have the power if something goes viral to reach more people than -- ever thought of reaching. and, so there's a media world, a media ecosystem that is driven by three characteristics. predictability, speed and hyperbola. that's the way to build an audience. you don't get many followers for a feat that's called, on the one hand, on the other hand. right? that doesn't work. and if everybody who says they love the news hour actually watched the news, our the
ratings would be higher. they wouldn't have enough tote bags to hang out. and so, i think that it's on all of us if you're not six subscribing to a journalistic institution that you believe helps shed light as opposed to generate heat, you are not voting with your wallet. and if you can't quite help it, but maybe just checking in with an x the easier fox, the pentagon where you are, ideologically, you are complicit in this. and so, my large view about this is that politicians are far more often mirrors of who we are, rare -- and that's an uncomfortable reality. >> also, the economics of it, i was asked -- i was given a class for wounded
warriors a campaigning to, and one of them asked me, i showed them the slides, ranging from certainly where you've seen. and, i was asked, would i be able to work for a magazine these days, to do those kinds of assignments? no way. time magazine, i would jump on the concord and go to london and catch a plane to cairo. and maybe two or three times a month, because we got an interview with saddam, or something like that happened. the amount -- the value that would people spend on assignments, for me to go cover these assignments her millions and millions of dollars worth of pictures that you would never be able to do now. >> there's, more a lot more. and i should say, we have a
slew of questions and we probably won't be able to get through all of them take this evening, but what we are going to do is take them, we will give them to you david, and we will push them out on social media for our website later, so all your questions will be -- >> sounds like a homework assignment. >> hey, i got you now! >> you'll have to work harder to dodge them. >> okay david, which presidents personality was the most the different and private versus public. >> that's a good question. i think abraham lincoln. don't you think? probably. i remember when matt brady and i would talk about it afterwards. i think richard nixon might be one who seem to be certainly the kind of things he would say in private. like with president ford,
certainly what you saw was who he was. and reagan pretty much, i mean i don't think any of those people have been jacqueline height, and essence. airily not donald trump because you saw how trump is. >> he's just high. >> i don't really know him that well, did i get that? right so that the right one? >> we can cut all this out, right? >> david, what is the one piece of advice you would give to an aspiring photographer? >> i'm proud of you for doing it and the best way to learn how to take pictures is to take pictures. i pretty much taught myself and even though big magazines aren't weather used to be or they don't exist, there are so many outlets now, i mean you could -- one reason i like facebook and
instagram is because i am the editor and i am the creator -- >> the curator. >> you can do what you want and i am really i -- would never discourage anybody from getting into it. wini people to be writers, before talk refers, it's really important and all i can say is, my advice to them is to do it. we have to figure out how to do it yourself in your own way, but do it. sounds like a nike add. but it's not. >> just do it. this question is actually from me, why is this center collecting photojournalism? photojournalism allows us to look at images that have chronicled history, right? so this center can take the
work of a photographer, a photojournalist like you and put it into conversation with other photographers. so, you take the work of and phil adams two avid on to david and all of those photographers use images to communicate. they communicate the beauty and the joy in what we want to see. and i think that they also show the hard times and the challenges that we must see. so, if you think about photojournalism has just one dialect in the multitude of languages of photography, the center is a place that speaks all of them. how did i do? >> good metaphor. >> i like that. [applause] >> i am a student here at g2u
the best way to get young people like me to understand the historical context of the period we are in today? >> i would go back to what jon meacham said. it's important to subscribe now, but the whole model of how people are going to keep newspapers going is not going to get them at your front door. i mean, i still get them, you get them. but, you've got to read the big ones. you've got to read the daily diet of new york times, washington post, l.a. times, politico, there is no excuse for not knowing what's going on. and the thing about it, like meacham i, it's a never-ending -- where not shading things. i mean, you get news from reputable sources, despite this
onslaught of the fake news and of failing iraq, times all that stuff. so, i think these people are professional people. and it's like professional -- for the wire services. if you take a branch out or put one in with photoshop, you get fired. you have to believe in who is delivering you the news. and i have real faith in the big players. >> and everybody is like, why would you read a blob of some insane person? everybody's got a -- everybody has a voice, but you don't have to listen to them all. >> you're absolutely right. what i to say is just because we have the means of expressing an opinion quickly, does not mean we have an opinion worth expressing quickly.
and i include myself, number one in that. on the context question, would i did vice and i do advisor graduates, is pick in area that seems resident. and find one really good narrative piece of, and read it. and i wouldn't be doing what i'm doing if i had not read books that i didn't think would be exactly relevant to my work at that particular moment. the man that david shot, herman woke. my vision of world war ii in many ways and the whole panoply of that was shaped by his work that i read early on. and you can do worse if you are trying to figure out american populism and the vicissitudes of the politics that we are now so hyperventilating about.
reed william manchester's the glory of the dream. if you see it, you will think i don't have for years. [laughs] . . may not have exactly happened, but we have come through difficult times before, fort sumter was pretty bad. joe mccarthy fell from power. richard nixon fell from power. to know that there have been moments where various institutions and various people have finally said that's enough, is i think the way to go. >> i agree.
and there are people like jared ford there to pick up the phone, and both of us are optimistic people. i think they are definitely out, there is no question about it. >> absolutely. so we will read books and we will look at photographs. >> you should try the andrew jackson biography, for which he won a pulitzer prize. >> absolutely. >> we have learned so much tonight, david, john. thank you. [applause] [applause] >> thanks. that was good. >> nice job. , thank you very much. >> thank, you everybody. good night.