Shes the librarian of congress been there since 2015. Before that she was the executive director at Dance Heritage Coalition where now she provides outreach to artists and national preservation. This is vitally important. Im a dancer in another part of my life and im excited about this. She advises organizations on how to find funding or assistance for records and coauthored with an attorney a book on copyright and fair use to navigate issues. She is also really interested in how the art next to other parts of history and culture and that is very much what we will see today. Im looking forward to it so i will say no more and offer libby smigel. [applause] thanks. I really am thrilled to see all of you here on this extremely muggy day and giving up your time to come to this presentation. I want to thank the staff for inviting me to come and talk about things that i really care about dearly. And also, i am looking forward to you offering comments and questions at the end. Because one thing especially at the library of congress that we can celebrate as the other can celebrate as arguably the Worlds Largest library. Once you start opening up or turning over a mushroom or a stone, you find so much more that you really need to ask. And you find more pieces of the puzzle. I hope you will feel that way with my talk today. I will be learning from you at the end of this and i hope you will be able to take away some thoughts that you feel were valuable for your time spent with us today. My choice of topic today came from two interests. The first one is that i love the idea of looking at dance as a collaborative and creative process. So often, the dancers or that was often my experience, would be in the classroom and they would be given sets of steps but we wouldnt necessarily know where they came from, why they were chosen, and sometimes that even happens when you go to a dance concert. What i have been finding for dance at the Music Division is that you cant tell any story with just one piece of information or one persons papers or special collection. And if truth be told, fall river legend is one of my goto examples when i have people coming in and i do show and tell displays. We have the american ballet theater archive that is one of the longest existing American Ballet Companies and we have their papers. We have the morton gould papers and his name may not be 21st century known across country but at the time, in the 1930s, 1940s, 1950s, he was doing marvelous compositions and his work on music may have helped Agnes Demille make some choices about how she was going to handle the story. We have the oliver smith papers. He was the cofounder of america ballet theater. And a lot dont realize he was architecturally trained. I hope when you see some designs why what he e does is so masterful. The peggy clark papers are also interesting. She was notably a breakthrough Lighting Designer and she didnt actually do the Lighting Design for the premiere in 1948, but she did do the second year Lighting Design and worked with the existing set. I hope you will see that it is a lot more than lighting plots in her repertoire. We have a couple of miles white costume designs as well. We have some correspondence that said they had to be tweaked. Because his was more suitable for a theatrical rather than a dance type production. They had to make adjustments. We have some of those too. If you were over at the Music Division, i would pull things from various collections, setting them up on stands, and you would see the scores marked. Early sketches in the final versions. I find it really exciting. But there is still an awful lot of gaps to fill, especially if i will talk to you for 20 or 30 minutes. Usually, i just let the visuals do all of the talking for me. What am i going to be doing to actually connect to the topic that we have today, which is the theme of the theories, which is series, which is congress and the arts. The first thing is, you are seeing your tax dollars at work. Congress funds us. There is a connection right there. We have a Music Division. But, you probably were not old enough to see the first version of the Music Division. It was in the jefferson building. Maybe you dont know the story of why the library of Congress Even collects music. You may know that, in 1812, the british burned down the library, so they had nothing. Thomas jefferson was in financial straits so he sold his personal library to the congress. It became the seed collection. There happened to be 13 music books in the collection, which gave people the idea, oh, we should continue to collect music books. So they began to get in some music theory books. Here we have the music collection at the time. This is part of it. At the other end, there is a room. You see that stack of stuff . That is music scores, sheet music, stuff that came in for copyright deposits. As you know, the library of Congress Also is the place where copyright works that are printed in the United States are deposited into two copies. All of this stuff came in at and to the despair of oscar, who felt that an awful lot of that stuff was just popular music, and he wrote in his annual report in 1902 that the Music Division reports that it was collecting, effectively, both the treasures as well as the trash. That was his word of american music. And of european music forms as well. We look a lot better. You can find us not in the jefferson building, we are in the madison building. All of you can get Library Cards and calm and and ask me to show all the stuff in person that you might want to see closeup. I invite you to do that. Given that i have already given you a little bit about the Music Division, but what can we say about the Lizzie Borden myth or legend and how agnes de mille adopted it. What kind of things did she know or assume . This, irted to look at realized i had to go much deeper and earlier than the actual existing materials that document the fall river legend ballet. The one i am most familiar with is the Music Division and performing arts reading room. Tsd of course we have the prin and photographs division. They collect major american, and other photographers and posters. I found a lot of documents there of the fall river legend. Teaching resources. As i began to look further out into the library, i found that i was not the first one by a longshot to be interested in researching Lizzie Borden at the library of congress. There is actually a website that gives you a timeline and points you down to certain resources. I did see there was not much about fall river legend and i will have to remedy that. Also, newspapers and periodicals divisions. We have all sorts of small papers and large ones across the United States, especially in the 19th century. They would even come out daily, sometimes twice a day. I discovered, i had only been up the library for four years, there is always lots to discover, that the National Endowment for the humanities has with the library of congress has been diligently digitizing historic newspapers and making them available online. The years of the borden murders, 1892, and the trial, 1893, filled with articles digitized from across the country and abroad. Then, there is the main reading room in general collection. We have lots and lots of books, and lizzie has been covered in many of them. Sometimes not effectively, but we have a lot. There she is, the young lizzie is on the left. Theis about the age where trial happened there on the right. What facts do we know . We know she was not a worldly woman. She was sheltered. Part of that was because her father seemed to not want to spend much money on his two daughters. She had an older sister. Her mom died when she was two years old. She did not really know her mother very well. We will talk about what agnes de mille does with that fact in a little bit. Her family was wealthy. Other bordens who lived in fall river, massachusetts, which is where this was set, were even more wealthy. When her father was murdered and died, his estate was valued at 300,000, which, people put estimates that it was 8 million today. He was certainly wealthy. She had taken one trip abroad. She was active in her church, which was appropriate for an unmarried young woman in a small town in massachusetts. So, what about the rest of the cast of characters . We have emma, her older sister on the left. There is evidence they did not really get along. They were not that close. Emma would have died and known their natural mother more. Then we have the stepmother in the middle. That was abby. It was really rumored, or assumed, that this unmarried woman who is approaching middle age was marrying for the stability and the money that Andrew Borden had. That is probably true. The trial lets us know from the transcripts that lizzie continued to call her stepmother mrs. Borden, which suggests there was no real love lost in their relationship. The house still stands in fall river, massachusetts. This is the house at 92 2nd street. You can see the barn behind there a little bit. Clock board very typical of new england. Not particularly adorned. Was not in the clean and style of the late 19th century. Many of the wealthy people in fall river had moved up on the hill as it was called in fall river, and had gotten himself themselves electricity, indoor plumbing, and a telephone. Miser. Borden was a they did not have internal heat. They were using chamber pots and pails for bathrooms. They had no telephone. Existencepare kind of given he would have been able to afford those things. On the right, you see part of his real estate development. This was a building in process in 1982 at the time of the murders. He was making quite a bit of money in terms of being on bank boards and in his real estate and mercantile dealings. Thats what we know. And we also have the evidence from the crime. Im assuming you all know what the crime is, that you probably have heard the childhood rhyme. Here it is, i will go right there. Lizzie borden took an ax, gave her mother 40 whacks, when she saw what she had done, she gave her father 41. I remember doing jump rope to this. Does anyone else have memories of that exercise . Interestingly, and i will have to talk to more of my music colleagues about this, but i did talk to a couple. A lot of the sources say this was chanted in the 1890s to a popular burlesque theatrical tune. My colleagues in music are much more adept at musical singing and rhythm than i. They cannot do it to this tune. I think that may be part of the myth that has come along. We do know lizzie was very much interested in theatricals. Maybe that was somehow part of how that arose. I cannot really say. The other thing is, i think we can all guess that this is just a frivolous little rhyme, its not to be considered factual. I thought i would give you a few corrections. The murder weapon was a hatchet. By doing my research, i learned what the difference is between an ax and a hatchet. But an ax looks a lot better in a ballet. It has a longer handle and looks much more dramatic. An ax would have been more kindling size. The murder weapon is incorrect. Its not her mom, its her stepmother, and she did not even get close to 40, not even half that, 18. We have the autopsy results and the photos. Fall River Historical Society and others, i am not putting them up there, but, if you do enjoy that kind of research, perhaps you are working on a degree to be a medical examiner, you might find it of historical interest. Her father received 10 blows. We do know that she was acquitted by a jury of 12 men. That is called a jury of her peers. Interesting historical perspective. Anyway, they did a quick the qaquit her. The question is, well, then, why . Because the circumstances are in fact really odd. Even wikipedia has errors in there. Every 10 to 20 years, a special collection or a new piece of evidence seems to come up. A lot of the people who were the players in 18921893, who were involved in the trial, were very much concerned about locking down the information. They did not really want to create a lot of rumors. The doctor, he was very careful about not giving away anything about lizzie that would have been considered confidential. Same thing with the attorneys. Trial, theyter the sat on papers. Some of those are getting to collections now. Not the library, but they have been republished in some books, which the library has. It was part of my research. There you have it. The stepmother upstairs tidying a guest room, then the father who came back after shopping, or went downtown to do some business and came back, and thats how he was found. The hatchet up above that is actually a photo of the exhibited evidence. That piece was actually found by the household maid when the police came. They did find later that although that was offered as evidence, there were certain situations about that metal and the autopsy results that meant it was discredited. It could not have been the murder weapon. They did have axes and hatchets in the house, but they could not match one with what happened here. So, where do we go . Here is some of what the sources would be if you go to the main collection at the library of congress. The oldest one was published in 1893, almost immediately after the trial. This edwin h. Porter was reporting on the trial all long along and had a predisposition towards lizzies guilt. He pretty much selected what he wanted to give in the book you see in the center. It is available in the library. I think its available on google books because of the Lizzie Borden obsession has published it. You can find it online at this point. On the basis largely of this book which pieced together and selected evidence from the trial that pointed to her guilt and did not really cover some of the questionable parts where it seemed as though she could not it, that was the book that agnes de mille used most in researching the Lizzie Borden story. We can find it in her own book. She is a great storyteller. It is a good read even though you have to be careful and note that she is a storyteller first and a fact giver second. Delightful book about her investigation of the Lizzie Borden story. One of the things that i read, and i cannot confirm, but it was published in the biography of her was that she took this book on her honeymoon to read. Interesting choice. At any rate her book was , published in the 1960s. Recently in my life, 40 wacks was published in 1992. About 100 years after the murders. And he was able to find a lot of evidence that cast even more doubt on the whole trial and the validity of some of the evidence that was put forward. Of course, agnes had no way to access what he was able to see later. I will share a little bit of this with you. Here is one of the things i think is critical. This is a letter from the prosecuting attorney to the state attorney general who was really quite interested in how this trial was going to go. So, and i see that i have 1993, i just want you to know that is a typo, its 1893 if you look up there. Sorry about that. It seems like 1993 as already ancient history some days. He writes this letter and i have done a quote there so that you can see he is getting a report. And basically, lizzie, after her arrest, has been in prison for the better part of a year awaiting trial. He is reporting on it. As he says, the last sentence in there, i think it may well be that the jury might disagree upon the case. But even in my most sanguine moments, i have scarcely expected a verdict of guilty. So, even the people who were investigating and would have wanted to give the strongest case that they could had a lot of doubt. In this letter and other correspondence, it becomes clear that they do feel lizzie knows more than she is saying. But there is not the preponderance of evidence that is going to clear reasonable doubt. That was a letter agnes would not have had access to because it came to fall River Historical Society much later, in time for david kent to write his reexamination book. What she did have access to would be things like this. Sketches that happened in publications and newspapers covering the trial. Hese are just a couple ver lizzie was front and center in an awful lot of cases. Also, this leads me to the wonderful resource that the library of congress has done with the collaboration of the National Endowment for the humanities, which is chronicling america, Digital Access to the historic american newspaper. I did a screenshot of a search. I used Lizzie Borden, put it in quotes, and i got almost 2000 hits between the year of the s and the year of the verdict. That is where the Lizzie Borden name occurs in those papers. The interesting thing to me was that there would be a german newspaper. Sometimes these were just republishing things that were shared through other newspapers. But this was something that was being covered really seriously. One of the examples i found that was most interesting to me was a case where a newspaper called theson near where prison mirror, and i have not gone any farther to figure out exactly what this 19th century publication was, but it was based in minnesota and reprinted a st. Paul, minnesota, article that showed what was coming out of fall river, and the errors that were in the initial article. I thought, isnt that interesting, because here we are and we are having the same questions about News Coverage and people looking at whether or not we are getting true facts. I think we have had this problem all along. Anyone who really wants to go and look up Lizzie Borden, now youve got at your fingertips sources that will keep you busy for a long time. Popular coverage has not stopped. Life magazine did a lovely feature on the american ballet theater premiere upcoming for fall river legend but cannot resist republishing the crime photos that circulated so far. There you see it on the left at the bottom. These are from the morton gould scrapbooks. He was really very religious about his programs, articles, reviews. Just as a little side note, i want you all to think about what we lose by not scrapbooking now. By doing everything digitally. It is so wonderful to be able to go here and find the things that he selected and thought were important. Wes to me says that americans and worldwide as humans have always been somehow entranced by looking at the grizzly. It is that kind of documentation that says something about us as a people. What we choose to spend our time doing or thinking about. I will leave you to make conclusions yourselves. I will just go back for one second. The article makes clear that Lizzie Borden was in fact acquitted, and that for the purpose of this ballet, agnes de mille went with edwin porter. Hey wrote that slanted book that came out, but also morton gould goes on record saying that he writes better hanging music than he writes acquittal music. So for a dramatic finale, that is what they decide to go with. Given that the popular belief is that she probably did the deed, there was not a lot of pushback. Kindly enough, agnes did change the name of the protagonist, and its not Lizzie Borden, but it is the accused. We all know it is inspired by the Lizzie Borden story, but the names are all about stepmother, the accused, young lizzie, or the young child, not lizzie. Also just want you to see an example. This was of interest to me as a predominantly dancer theater historian. I have to say before i started working in the Music Division, i was not going to music scores to find out a lot of information. This is an example of where composer morton gould, who is collaborating day in day out with agnes de mille on the sections of her ballet, helps us to see the creative process. This is an early sketch and he has listed the sections. It gives us a little bit of information. We know the prologue, which is section one. We know that was instrumental music that was played for the opening theme, where we all are going to see the gallows and hear the indictment and the verdict read. It is a framing device that agnes de mille used. It was with words. We dont always think about words and ballet going together, but that is what happened for this one. And we see the elegy. That was a lyrical dream sequence where child lizzie and the birth mother and their father are dancing together, and the accused joins in. It kind of gives you that sense , what she missed, not having her original mother as part of growing up. In reality, lizzies mother died when she was two. This is a dramatic reimagining of something for dramatic purpose. Sections eight and others, the character of the pastor or minister comes in. Church was really important in the 19th century villages. They used that in order to create a motive for lizzie. That was one of the questions that was surrounding the trial. What was it that was precipitating this incredible action, and how do you attribute that to lizzie . So, they created a Love Interest for her. We do know she ended up never marrying and was ostracized. There is some question there with 19th century women and the expectation that they need to marry and create their own home, and that played into it. It is much harder if we are looking into a ballet about a murder because of a will or an estate. Its harder to put that into play than dancing a Love Interest who is somehow interrupted or unrequited as a dramatic feature. Just so you know, agnes de mille was not the only one who changed the ending of what actually happened. I have to cite this 9 pine street, which may be a bit of a not up to much drama by john colton and carlton miles, who did a lot of playwriting in the 1930s. Initially, this was based on the Lizzie Borden story. The names were changed, they did give them character names, not just family title names. They set it as a whodunit kind of set. Reminds me of what i have seen in reconstructions of Agatha Christie plays. Originally it had a run of a month on broadway. It was not well received. I do love these photos from a federal theater project. Thats a collection at the library of congress that shows this wonderfully overbuilt set. I do have these photos from a federal theater project, a collection from the library of congress, that kind of shows this wonderfully overbuilt set. And theres the lizzie character, on the left there, coming down the stairs. And you cant really see it. But its a publicity photo that has her sort of hiding the weapon of choice under her arm. In this case, they did another dramatic change to the story as we know it. Theres no ax in this play. And instead, she bludgeoned her mother with an iron. So thats what she has tucked under her arm. If you think about the oldfashioned irons, theyre incredibly heavy. We dont iron anything anymore, do we . You probably dont even have one. But, yes, it could have done some pretty serious damage. But kind of an interesting change towards more of a home economic weapon instead of an ax or a hachet. So i want to share with you some of the photos that i would be bringing out for you to see, if you were over there in the Music Division. We have here some of them. And you can see how the sets are. These are wonderfully developed sets, because they can be shifted around. And im sure youve seen this. Its done oftentimes now on broadway. So it becomes something else. You can sort of see where the gallows would be if you shifted it around. This here, with the plain chairs, this is a basement scene. And you see down on the left side there, that is sort of the parlor or the sitting room. Thats part of the dream ballet. Now, when the premier happened, both nora k. And elisea, you may know her name if you are dance aficionados, being the 99yearold head of cuban ballet, National Cuban ballet right now, because she did return to cuba. But at any rate, the two of them were extraordinarily capable of interpretive angst and passion. And wellsuited for embodying the Lizzie Borden accused figure. And this i thought gives you a little sense ive put the dream ballet part up above what the set the version. Thats Oliver Smiths set design there. On the lower side. You see the artistry of that. And he also even did individual pieces with the specifications and the instructions of how to fit it all together. Now up on the right side, we have sets of peggy clark giving us artistic drawings of how she wants her lights to look on the set, which i think is brilliant. Ive seen many a lighting plot. But when you see that, you definitely know, if youve hung the light, whether youve got it or not. But thats the gallows scene there that i wanted to also show you, going from the somber to the, you know, strong red look of the finale scene so that you had a sense of just when we look at black and white pictures, we do know that theyre period, but its good to have something with some color so that you can see what was envisioned for the stage. So in a few of the actresses this is nora who really was agnes de milles first choice. She was noted in pillar of fire. Really was considered one of the best interpretive ballet dancers of her time. And, you know, these are three different sets. There she is, with the ax. And with her mourning outfit. And her other the dress when she was being courted. And a few other notable dancers who have taken on the role, you know, carla fratchi, alexandria ferri, some of the most wonderful dancers from abroad who were able to take on this role. Dance theater has also restaged this. But they dont use the set. I think american ballet theater wants to lock down the oliver smith designs as being their version. And also, its such a Large Production in terms of that set that some of the, you know, smaller or lower budget touring Companies Might not want to be shipping all of that set and hardware for it. But here again, i just wanted to show you the research guide. This is what then led me to the chronicling america. And we have just we are just getting ready to publish a library guide specifically for dance. And so fall river legend is well represented in that. Its coming soon. And we also have an interface where you can send us a question. So there we all are. Or a lot of us anyway. That was the moment when we got our new librarian, who came and we had a group picture, group hug. I know where i am. And so thats it. And i hope its been helpful to think about adapting real stories to the stage and the choices that are made and maybe what they say about our arts or about the event itself. Thanks [applause] so i think we have a little time for questions or comments. I hope i havent disappointed anyone who really wanted to know where the feet were, because i was doing much more of a cultural type of history than an actual how to. What kind of support can a modern day de mills look forward to, if they proposed a historybased thats a really interesting question. So the question was, what kind of support a choreographer or artist might get if they had a factbased, eventbased adaptation . I would look to i mean, thats a great thing, because she actually didnt come up with the idea. It was someone in american ballet theater who thought it might be good for her. She had just finished choreographing rodeo to great success, so they thought she was good with story ballets and characterdriven story ballets especially. So i think they fit that idea to her. Basically there isnt a lot of support generally, especially not for dance that i can see. And storydriven for dance is not as encouraged as i think it should be. Now you know about my aesthetic. Because i see dancers dancing as people. Other people like watching dancers dancing abstractions. Thats fine. But, you know, i have a preference. I love the story interesting stories. I would, however, look at Something Like the 9 11 based come from away, which is on broadway now, which is about the actual event and it involves a lot is developed from interviews of the people who were stranded in the airlines that couldnt land in the United States after 9 11, and ended up in, of all places, newfoundland. Theyve done a wonderful job of doing a lot of factbased investigations. But then changing it to a more not using real names but creating characters from the interviews. Theres the bands visit, which is based on fact. Just came to the kennedy center. Any of you see that . Id love to know how that came into being. We better found out how. Ha ha youve just given me some assignments. Anyone else have any examples of factbased . Where are the agnes de mille papers . The agnes de mille papers are at new york public library. The dance division, which is located in the Lincoln Center building theres one next door. Theres a billy rose theater, a dance, Music Division there. They have a lot of especially new yorkbased artists have put their papers there. Im hoping that, you know, as we go digitally, that more and more were going to help each other by sharing. Did you use those papers, and did you go to fall river and use the no. And i didnt do that well, besides the fact that its been quite a summer ha ha i decided that really, given that its congress and the arts, i wanted to show you what you could find in the library. The number of people ive encountered who have no idea we have anything related to the performing arts at the library of Congress Makes me sad. And we have some astonishing things, you know. We are the only place for serious scholarship on martha graham. Who knew . But its not in new york. And its not at the graham company. Weve got it. But similarly, with certain broadway, gershwin, i mean, theres a lot that really if youre going to work on it, you need to come here. But youve i am intrigued about going up to fall river, i have to say. Anyone else . Great question. Question. Yes . You mentioned that [inaudible] do we have any material on where the idea of finding her guilty and doing the was this musically driven or was it choreographically driven . I think a bit of both. First of all, we do have that 9 pine street predecessor. Given that her uncle was so involved in theater circles as well, i cant believe she wouldnt have known about lilian gish being in that play where in fact the Lizzie Borden was found guilty. Shed have probably seen a precedent in some way. But the other thing is think i think good composers help choreographers edit in a way. They have ideas, because and if you look at some of his early pieces, you can see, they have this idea. Shes written, you know, and then its pulled back and that section doesnt go. And he was very unlike some composers, he really did work well collaboratively. Others, its like, i dont want you to change my change my music. Gould. Graham did not see he sent her to school. Theres a lot of correspondence. It wasnt called appalachian spring. It was like a house of it had a framing person of an American Indian speaking. This would look not like an american iconic piece in the 21st century. He had the john brown uprising as an episode in it. It felt more like melo drama to me. He knew what he wanted to write, i think. And he kept editing her down. It was premiered at the coolidge auditorium. If youve ever been over there to see our space, which is for chamber orchestras, to stick a dance in there, it had better be of a small community. Youre not going to get the fall river legend set on that stage. But i think its interesting. I think agnes de mille likes to selfpromote a little and take credit a little bit, because in her book, it makes it feel as though it was her idea to that she was so guilty. And in a couple of taped things, it seems as though theres a little more respect for the input from morton gould. But i dont know. Hes not hear to follow up to follow up questions. Another question . Anyone . Thought . Yes . [inaudible] in what ways would you say congress has influenced the arts . Well, for the library of congress, we have a free concert series, because of the coolidge not related to the president elizabeth coolidges endowment of the auditorium space to make Chamber Music or jazz available for free. I think its something thats incredible. And thats part of our building. Were under the architect of the capitol. So i would say i mean, i dont think necessarily its, you know and they fund us. We are hiring or we just hired more staff in the Music Division, which means we can accelerate the amount of material we can make available. We have so much. Dont assume its all cataloged, because it cant possibly be. I think its over 25 million items, at last check, just in the Music Division, which includes dance and theater and design as well. So the fact that, you know, we we feel like we have a very Good Relationship with congress. So from that respect, definitely. I cant speak for National Endowment for the arts. I know thats important too. Thats another role. But im not the right person to prognosticate on that. Mmhmm . I have a question. So when youre gathering material for collections within your division, at some point a decision is made about what reaches the level of something kind of graphic enough to collect vs. A Community Dance group in who makes those decisions and whats it based on . We have a recommending officer for dance. So if it were a dance book, the likelihood is its coming in, if its published in the United States, it will come in through copyright. But ive been in touch with, you know theres a dance book person in new jersey who works with the u. K. Publish. We kind of have a reciprocal thing. There was a book i thought we should have in our reference collection. And he donated it to us, because i showed interest. And that was lovely. We also have a purchasing budget when we think something is important for us to go out and get. But, yes, and its not as though i can say, oh that group, we must have that maybe we should. But its going to have to go through an Acquisitions Committee within our division and then it has to go through a memorandum of recommendation and work its way up the chain, because we do make decisions on commitment of resources and staff and space. If were going to take in morton goulds papers, it is in fact a large collection. And we need to know and well need that collection will need digitizing or other kinds of preservation. You saw the scrap books. That kind of paper just disintegrates at this point in your hand. Sometimes i feel im wearing it out, because its all crummy, if ive been having to handle things. So, yes, its i i love my job i should say, however, that my two predecessors, vicki and elizabeth, were the people who got in a lot of these collections. The american ballet theater archive came in around 2009, which is a few years before i started. Martha graham was around the year 2000. Alvin ailey. These are companies of national or international repute. They went and said we gotta have them represented. And im very thankful that they succeeded. [inaudible] it is. Its 1 00. [applause] [captions Copyright National cable satellite corp. 2019] [captioning performed by the national captioning institute, which is responsible for its caption content and accuracy. Visit ncicap. Org] today at 2 p. M. Eastern, the psychological impact of flying on world war i pilots and at 7 00, women in the Apollo Program and the challenges they face. There were cameras all over the place. This camera was just, i have no idea it had been on me. I did not say anything about it. We did not even know the term Sexual Harassment and there are two different ways to think about that. One is that its voyeuristic on the part of the dude. Its harassing and uncomfortable but the other way to think of it letso let em look and everybody who is not in this damn room know there is a woman here. Im here. Get used to it. [applause] explore our nations passed on American History tv every weekend on cspan 3. Campaign 2020. Coverage of the president ial candidates on the campaign trail and make up your own mind. Campaign 2020 your unfiltered view of politics. Cspans cities tour is in lansing, where we are visiting michigan history museum