Jumat, 28 April 2017

asking alexandria names

asking alexandria names

your voice is calling my name again and again the web you wove around me was only the beginning and every star i've counted as cold as your embrace i've listened - i’ve questioned every word you choked on the secret, the answer i'm just a slave to all your sins

if i've been so stupid so blind, so void, so empty i hope you forgive me i'm just an echo in your head you made my life a fucking misery remember when you tied me down? yeah, i sank in the uncertainty i prayed for you to blindfold me fuck

i'm just so scared of what i'll see my soul is caught up in flames i feel i'm losing control i'm here, i'm yours to atone oh no god mesmerized by your motion but my memories of you are forever standing still i'm here, i'm yours to atone

i'll spill the ink on the empty page i feel this fever taking over me help me, ‘cause i can't live this way tell me why the memories won't fade away but we'll be okay we'll be just fine i never took the time to say sorry but all i ever needed was you

asking alexandria músicas

asking alexandria músicas

♪ (jimmy eat world, "hear you me") ♪ oh, my gosh. i saw this video. oh, amanda todd. i heard about her. oh, no. she flashed them. watch out. okay, that's pretty-- not right.that's pretty creepy. okay, that's really creepy. see, now this is cyberbullying. what a jerk.

♪ i never said thank you for that ♪ ♪ i thought i might get one more chance ♪ dude, this is serious. oh, this is just taking itto a whole new level. then those aren't true friends, girl. yeah, the video itselfwasn't what got to me. what got to me wasthe people in the comments. that really pissed me off. ♪ now i'll never have a chance ♪

♪ may angels... ♪ ♪ (sia furler, "breathe me") ♪ dude, that is really (bleep) up. i would try to helpif i had the chance to. people are cruel, man. people are disgusting. i'm sorry. (finebros) no, don't apologize. so, had you heard aboutamanda todd before watching this?

- yes, i've seen that video.- mm-hmm. i had heard about amanda todd. no. (finebros) do you knowwhat happened to her after this was posted? she killed herself, didn't she? - yeah, she committed suicide.- no. (finebros) she actually killed herself about a month after this video went up.

are you serious? (finebros) she ended upcommitting suicide. and how does it makeyou feel hearing this story and knowing that that happened? it's kind of speechless shocked. i feel like she made two littlemistakes, and that's not fair. that type of stuff gets to me, and i'm not a veryemotional person at all. she felt like her life wasthat bad to where she killed herself.

you know, and... i wish i could just talk to her. it makes me feel like crap. like... everything bad i've ever done to people, like, everything badi've ever said to somebody, it makes me feel likethat really had a bad effect. she's so internet-famous now and whatever, yet other kids who have killed themselves for better reasons than that. like...

like no one gives a (bleep)about them, you know? (finebros) and what do you think of the guy that blackmailed her? i think he should go to jail.that's, like, child pornography. he's a grown man. he shouldn'tbe picking on some teenage girl. that's pretty (bleep) up,knowing that you killed some girl. how could you deal with that? he should be arrestedfor the rest of his life. (finebros) and how do you thinkpeople that were tormenting her

- feel now that she's done this?- i don't know. because i never understood, why would they treat herlike that in the first place? i hope they feel really horrible. i hope they feel like thisfor the rest of their lives. "man, why did i do that to her?why did i hurt her like that? she's gone now. what have i done?" if they don't feel that way, then that means they don't have a heart.

it just depends on the person,how big their pride is. it's like if they letthemselves feel guilty. i don't think they're goingto entirely stop doing it. people still bully evenafter terrible things happen. (finebros) there's still peopleleaving comments like, "i'm glad she's dead and she deserved it." - why are people doing that?- i don't know. when is she gonna see this? are you just doing itfor your own pleasure?

they just want a reaction, and that's what they really feed off of. people like to talk big on the internet. well, i mean, i've seen comments like that just on youtube comments for the videos, like, "oh, yeah, this guyshould kill himself." it's another form of cyberbullying that needs to be monitored by parents, and it's the parents' fault.

they have no repercussionsfor what they do on the internet. they can say anything, and that's why people leavehorrible comments on these videos. they feel like nothing badis gonna happen to them. it's 'cause it doesn't. (finebros) what do you thinkshould happen to the people that would leave commentslike this on people's pages? there's not much to do, you know? they should have their accounts revoked.

they should just havetheir comment box removed. something should happen to them, like some form of punishment, but the reality isnothing is gonna happen. how are they gonna catch all those people? kids find a way around everything. i think that these websitesshould be shut down. you can't blame themthat this is happening. they have no control over it,

but they're providingthe resources to let it happen. (finebros) and what about the restof what she went through, how she had to keep transferring schools, but the bullying followed her everywhere? man, people are cruel. i feel so bad for her. i can't even imagine the feeling of not being about to escape something. high school students,you know, they feel weak,

so they pick on people weaker than them so they can at least have some power, and they find an easy target like someone who alreadyhas past problems, and they make it worsewithout realizing that that has very bad consequences. (finebros) some people have said that she deserves someof what happened to her because of the choices that she made.

- what do you think about that?- well, everyone makes mistakes. all these mean-heartedpeople are over here like, "she deserved it." no, she didn't. you can justify what they're saying, but, at the same time,it's like, calm down. just give the girl a little bitof respect and decency. she's just a kid. she doesn'treally know any better. the whole point in life isyou're gonna learn by messing up, and if she keeps messing upand you keep telling her,

"oh, you're never gonna get better," she's gonna start to thinkthat life's never gonna get better. (finebros) at any point during hergoing through all of this, what do you think could havebeen done to help her? she just really needed a friend. somebody could've stood up for her. i would've stood up for her. her friends could not have abandoned her. just accept the fact that they did itand be their friend again.

in school, they want youto talk to your teachers, the principal, your parents, but it's tough finding someonewho can actually understand, because they're notgoing through it. you are. (finebros) do you haveany personal experience - with being bullied or teased?- yeah. in middle school, i was in theater.i was a theater kid. people would call it "gay." even if i was gay, which i'm not,but it's like, even if i was,

how would my sexual orientationaffect you in the slightest? now that "gay" has become a slur,it's just another hateful thing that people can say to hurt a person, even though it really shouldn't be. i've been made fun ofin school for a lot of things, called "gay," "short," "stupid," "ugly." racist remarks sometimes. i used to be kinda overweight back then, and people used tocall me "fat" and stuff.

as a kid, i was really-- i was just trying to fit in so hard, because i didn't really have any friends. they saw that i was trying hard,and they just kinda... like, dismissed me. and then, because they did that, i started getting really mean to everyone. it was around seventh and eighth grade. none of the boys would date me

because they said i had the bodyof an eight-year-old little boy. and i laugh about it now because-- i also cry about it too. i couldn't help it, you know? it's just... it's just mean howthey would even say that. when i got to high school,stuff about boys didn't really matter. but stuff online got a little bit worse. you're gonna have it your whole life no matter what shape or form it is.

i don't get picked on anymore, but then i see peoplewho pick on other people, and at one point in my life, i also went throughan amount of depression, and i managed to get through it. seeing stuff like that, knowing that i've been throughit at one point in my life, it really pisses me off. karma will bite them in the ass one day,

and it'll be awesome. (chuckles) (finebros) what do you doto keep yourself going - and not let it get you down?- well, i mean, it hurts, but i don't make a big deal about it. i just kind of keep it inside, and then write about itso i can get out my emotions. i mean, writing is a great tool. you just talk abouthow you feel to yourself. i'm glad i have my mom and my dad,because they help me a lot.

as much as a lot of kidshate to go to their parents, your parents knowwhat they're talking about. i just kind of ignored it.like, i know life's gonna get better. four years is justa tiny percent of your life. i usually just make a joke out of it. i don't need to fit in, you know?i don't care about you guys. i'm gonna go off on my own and do my own thing that makes me happy. high school is awful,

and i'm always goingto remember it as awful, but it's something i'm goingto get past, and i'm fine with that. (finebros) and why do some teensend up considering suicide as the answer whenthis bullying happens to them? they feel like they haveno hope left. no friends. nothing else to live for, i guess. as opposed to letting yourself cry and letting yourself feelthose emotions, it's just done. you can just end it yourself.

this is the biggestmajority of their life, it's all they remember, and they think their lifeis never gonna get better, 'cause this is allthey know, so they end it. with the internet posts onfacebook, twitter, anything, it gets around. it will start at the school,it will spread through the school, then it will go to the internetand it will spread to everybody. when people say things just out loud,

people will eventually forget about it, but if it's on the internet,so many people see it so fast. it just stacks on top of each other,and it doesn't go away. and then they tryto talk to adults about it, and then the adultsjust try to brush it off like nothing's really wrong,so they feel like there's no hope. (finebros) some adults saythat bullying has always been there and it's just kids being kids.what do you think about that? i mean, i kinda thinkbullying has gotten overrated.

what are they thinking? oh, my god. they shouldn't be telling their kids that. it's not like a rite of passagethat you pass through, 'cause, like amanda todd,you can take your own life. it's a serious topic.it's not kids being kids. bullying should be somethingpresented in congress. if we treated it likewe treat drugs or alcohol, it would be so much different. (finebros) when it comesto the internet, how can kids

and parents help each othermake the situation better? i think the most important thing is that kids and teens need to telltheir parents when they get bullied, because the parentscan do something about it. parents could get more involvedand actually make facebooks and friend their kids or something, so that they know what isgoing on with their kids. i think it's better just to startwhen they're younger and train them to always be open with you

and just always talk to youso you always know what's going on. no matter how mucha parent's gonna tell their kid, "oh, be careful of this,be careful of that," they're just gonna go and do it anyway,because they wanna see-- you know, they're just curious. it's like an iceberg, what parents know. they see this part of the internet, and this involves myspace and facebookand youtube and google+, but then once you actually breach

this little wall of the internet, it's this huge thing thatinvolves sites like 4chan, which are these insaneplaces that are really-- they can be hilariously funny, seriously just completely (bleep) up. parents think they knowwhat it is about the internet. they think they know aboutthe internet. they have no idea. (finebros) and what kindsof things has your school specifically done to educatethe students about bullying?

we actually havea lot of stuff in my school. we have an anti-bully club. they actually have a little club, and they try to stop people from bullying. there will be people out there, and if they see some type of bullying, they'll go up to him and be like,"hey, was that necessary?" (finebros) do you think it's working? not really, 'cause i'm gettingmade fun of till this day.

at the beginning of the year,they kind of talk about it, and when there's big stuff like this that's going around and that'spretty viral, they talk about it, but other than that, it's notreally brought up in schools, which sucks, because everybody thinks that there's so muchthat gets done for it, and there really isn't. it really feels like you're aloneand nobody cares. (finebros) do you thinkthat bullying can ever truly stop?

- is there a full answer?- possibly. if they were just startto notice the bullies, take them, and blow them up,then it would stop. (finebros) and if anyonewas watching that was a bully and was someonethat torments people online, - what would you say to them?- you're a dick. it doesn't make you look cool. you just look like a douche-licker. you guys are the people that i hate.

i try to be a peaceful person, but those are the people that i hate. end the chain with you. if you're a bully and you stop being mean and you try to be nice to people, you can be the examplethat others live by. (finebros) and what would you sayto someone who is being bullied or considering suicideand might be watching this? this is so cliche,but it does really get better.

tupac said a great thing. he said, "you got to keep your head up." stay strong. it's okay. i know it seems like the end of the world. katy perry says in that song, "after a hurricane,there's always a rainbow." honestly, you can get through it. when it comes down to it, you're in charge of who you areand what you do, not them.

you need to tell someoneif you are feeling that way. everyone goes through this. and i mean everyone goes through bullies, so don't feel like you'rethe only one out there. set a goal and make it a long-term goal or something that you look forward to. there's so many beautiful moments in life. this is just a tiny period of your life, and you have so muchto live for. it's amazing.

if i let that bully get ahold of me, then i wouldn't be 3,000 milesacross the country filming with the fine brotherson "teens react"! believe in yourselfand everything will go fine. suicide is not the answer,'cause even if you feel like there's nothing for youto live for anymore, there always is. it'll be okay.

asking alexandria music

asking alexandria music

we are the ones that no one gave a chance we are the ones that almost lost it all ghosts in the hallway who never catch a glance we are the lost we are the lost souls our hearts, our souls are shallow empty holes we sing this anthem for us all we're so fucked up oh god we're so alone

just close your eyes and sing along if my heart stops beating will you still remember? will you still remember my name? did i get what i deserved? we're trapped in doubt, in our own minds ignoring all we feel inside forsaken, gone, forgotten everything has come apart

lead us back from out the dark (2... 1, 2, 3) let's go (go go go) we sing this anthem for us all (all all all) we are the last souls

asking alexandria music videos

asking alexandria music videos

i wouldn't hold my breathif i was you cause' i'll forget but i'll neverforgive you don't you know, don't you know? true friends stab youin the front (bridge) somebody knows they can't no wonder they don't want youback you explain itthen, detective

it's just kids my horses have noheads kids don't do this you think thisis about us? not us, son this is abouther they leave a message? just like last time in thebarn it's funny how things work out such a bitterirony like a kick right to the teeth it fell apartright from the start but i

couldn't even see theforest for the trees (i'm afraid you asked for this)you got a lot of nerve but not a lot of spine youmade your bed when you worried about mine thisends now i wouldn't hold my breath if i was youcause i'll forget but i'll never forgive you don'tyou know, don't you know? true friends stab you inthe front i wouldn't hold my breath if i was you youbroke my heart & there's nothing you can do andnow you know, now you know

true friends stab you inthe front it's kind of sad cause what we had well itcould have been something i guess it wasn't meant tobe so how dare you try and steal my flame just causeyours faded well hate is gasoline a fire fuellingall my dreams (i'm afraid you asked for this) yougot a lot of nerve but not a lot of spine you madeyour bed when you worried about mine this ends now drinking again are we?

what do you want? it's time we had atalk, don't you think? it's just that i saw yourdaughter last week she look like she'd hurtherself kids hurt themselves but she's safe? we don't want her to gomissing as well are you trying to say something? you fucker

not again you're joking right? when will you learn thatit had nothing to do with me? your marriage endedbecause of you you lost her all on your own ok it was me and you came to the rescue well now you lost her didn't you?

but you still have something so have you a fucking screw loose i've figured you out tom i wouldn't hold my breath if i was you causei'll forget but i'll never forgive you don't youknow, don't you know? true friends stab you inthe front you can run but you can't hide time won'thelp you cause karma has

no deadline you can runbut you can't hide time won't help you cause karmahas no deadline what the fuck? what! i was talking about themarks you gave her i know it's you, you bastard why else would i find her hidingat the old station i wouldn't hold my breath if i was you cause i'llforget but i'll never

true friends stabyou in the front and now you know, now youknow true friends stab you in the front and now youknow, now you know true friends stabyou in the front

asking alexandria movie

asking alexandria movie

ow! eyebrow! eyebrow! hey red, how are you? oh i'm horrible mr. red there seems to be a recurring issue here anger am i a passionate bird? yes, but why does it matter that we are not the same?

don't look bobby, the anger might be contagious he started it hey, something's coming! greetings, i am a pig what's a pig? show them how we do it! how you doing? is that what i think it is? excuse me, those are fragile

frank not yours you are making our guest feel unwelcome and you're not asking basic questions well, this just got awkward doesn't anyone see what's going on here? the whole world is in danger and it's up to us to stop them! giblets oh my gosh if anyone knows what these pigs are up to, it's mighty eagle

it's mighty eagles lake of wisdom get out of there don't spit in his mouth no don't spit it back don't swallow it oh, wow it's him no, no, no, no horrible turn of events, horrible!

Kamis, 27 April 2017

asking alexandria mitglieder

asking alexandria mitglieder

because akatsuki run out of members, you will now see the following advertisement: do you also want to wipe out your clan? or blow up your village? or belong to the elite and wear such stylish coats? then come to akatsuki! youtube is not legally obliged to broadcast this commercial (but we are akatsuki, so they have no choice)for the content the advertising gmbh & co. kg is responsibe and you have not to worry about pension contributions. because you will not reach the 30 anyway.

asking alexandria milano

asking alexandria milano

when nasa moves out into the solar system, when we explore deeper and deeper into space, we are going to need systems that don't require human tending. nasa is going to need autonomous operations deep in space. and so raven is perfecting the autonomous portion of it. our technology will be placedonto elc-1. the raven package will use its visible, infrared, and active laser system or lidar to find and then track the visiting vehicles.

there is no option today to extend the life of a satellite on orbit without servicing. at the end of this decade we are going to launch a mission called "restore." a two-armed robotic servicer will rendezvous with a decommissioned satellite and then connect a fueling hose and provide landsat 7 with fuel, having executed the world's first on-orbit refueling of a decommissioned satellite in orbit. nasa does not want to be in the business to refuel for a living. we want to go explore the solar system. but there are a lot of u.s. domestic companies that do want to use servicing technologies for a new servicing industry.

so there are many beneficial services that can be provided to a client satellite, but none of them are a possibility if you can't first have a safe, reliable autonomous rendezvous.

asking alexandria metal

asking alexandria metal

for fans of our last night, adtr, set it off, alternative rock bands, and metalcore bands www.untilthelast.net

asking alexandria merchandise

asking alexandria merchandise

hello. oh gosh! what's up, youtube? today i am releasing a newproduct called the guava juice box. [techno music playing] so, what's inside thebox, you're asking? it's not guava juice,but it's even better. let me show you.

this is what's behind the box. toys! not one toy, not two toys,not three toys, not four toys, but five toys. there are five boys inthis guava juice box. we got bright bugz, we gotwacky wally, we got squirmles, we got super elasticbubble plastic, and we got electro putty. hey, roy, how do i getthis guava juice box?

let me tell you, chad. what? i'm starting a guavajuice box subscription that comes with fourboxes every single year. each box costs $14.99. or you can purchaseone box for $19.99. by the way, the total of allthese products combined is $40. so you basically save 50% off. whoa.

where do i go to get one? chad, you go toguavajuicebox.com if you want one. all right, let'splay with these toys. ok, so our first toy,we have squirmles. oh, look at this, it's likea little fuzzy worm in here. how does this work? i really don'tknow how it works. oh, it's moving.

yo! that's crazy. wha-- it's movingaround my body, dude. oh my-- whoa, this is so cool. chilling in the bowl, right? but if you lift it upit's trying to get out. hey, hey. don't go-- it's get-- ugh! it won't leave me alone!

ok. so i have fivesquirmles right now, so let's put it in the bowland they're not doing anything. whoa! whoa, gosh! oh, they're all over me. oh, man. you got-- this is cool. you guys, you guys, calm down.

i don't have any food. you guys are good, right? all right, next up wehave electro putty. this thing glowsin the dark, so we have to go over to a dark room. let's go to the bathroom. let's go. so i'm here in my bathtub,my favorite bathtub. you guys know this bathtub.

and i'm here withthe electro putty, so i don't know ifyou got to see this. i am unboxing it right now. look at that. so it comes with a penthat lights up like this. and the electro puttyitself is glow in the dark. so let's unwrap this right now. ok, i don't know ifyou guys can see this, but it's a little bit green.

ok, so the cool thingabout this putty is you can use this pen thatlights up and write on it. and since this puttyglows in the dark, you can write little notes. see, i'll say hi to you guys. check this out. h i. hi. you see it? hi.

so, how about this,let's do this. let's make the wholething glow real quick. so let's write all over, let'spenetrate it with this light. oh look at that. look at that-- lookslike a kryptonite. superman, where are you? all right, i'mgonna throw it now. here we go. huah!

yo, that's so cool. next we are superelastic bubble plastic. let's unwrap this. ok, so it comes with twolittle tubes and this thing that kind of looks like, um--what's that thing called? we go like [horn sound]. the ammo has been loaded. let's do this. let's some bubblesin three, two, one.

[squealing] this is so cool. [laughter] whoa,that was so cool. wow. oh my gosh, it really issuper elastic bubble plastic, because it's reallyjust plastic. oh, how about this. can we do a bubbleinside a bubble? can we do that? ok, there's one bubble.

no. all right, let'stry another color. ok, it's kind oflike yellow and pink. there's still some pink residuefrom the previous bubble. oh, we can take it out, guys. it's stuck to my hand. what if we couldcombine bubbles? this is so cool man. all right, flylittle balloon fly.

three, two, one. next up we have the wacky wally. you throw it intoa wall or window, and it will justcrawl right down. let's try it out. don't mind me, this is how iopen my packages and my toys. so, i just get too excited. we have wally and we have wally. so they're both wally.

let's throw into the wall. it's crawling down. who's gonna win? the orange or the green? comment down below. uh-oh. it's a race, it's a race. green is the winner. so if you commentedgreen, you are amazing.

so i have a totalof 20 wacky wallies. so let's watch themflip and crawl and jump. [laughter] they like combinedto make one giant wacky wally. go. [grunting noises]look at this one. oh, no they all fell down. ah, man. this is so addicting, man. this is like, if you'reever stressed out

or you're having a badday, just throw your wacky wally into your wall andyou'll have a great day. imagine waking up to this. you'd be like, oh, what is that? last but not least,the bright bugz. let's check them out. right over there. i caught it. oh my gosh.

[farting sound] oh,it's in my butt, wow! this is great, dude. [beat boxing] what areyou doing in my phone? let me get you out of there. all right guys, if youwant all those toys, they will all be insidethis guava juice box. i made this box myself soit's very special to me. so if you get one,please, please it means a lot tome if you get one,

because this is myvery first project i built with my love andmy happiness for you. if you want my baby, it's $14.99per box for the subscription. or if you want a one-timepurchase, $19.99. so please, guavajuicebox.comif you want one. ok, stay juicy.

asking alexandria merch

asking alexandria merch

there's something in the watertrying to pull me under but no one really caresif i can't catch my breath i just wanna be like youwatching the world from my lighthouse i just wanna make it throughwith the monster in my heart i am (i am!) fully psycho (falling in cycles!) keep on (keep on!) chasing my own ghost (chasing my own ghost!) but i'll try until i die!

stay away from my disaster i guess it doesn't matter and i'll keep drowning faster cause everybody knows that the flood is in my head i just wanna be like you and forget about the past i just wanna live life through with the monster in my heart

fully psycho (falling in cycles!) stay away from my disaster! there's something in the watertrying to pull me under but no one really caresif i cant catch my breath i just wanna make it throughwith the monster in my heart en vicios, seguimos cayendofantasmas, siempre persiguiendo sin miedo a la muerte peleando! en vicios, seguimos cayendofantasmas siempre persiguiendo i am fully psychokeep on chasing my own ghost

and i believe this isnt true and i believe this isnt true! and i'll try until i die!

Rabu, 26 April 2017

asking alexandria merch uk

asking alexandria merch uk

now one guy who's been intruders usualis doing the sunk so he will be challenged of course bythe press here for seven hours acting as inquisitive and he said this is far more thanpolitical including sectors change on gerry spoke out onthis earlier this week saying that's noted revelations are putting theslimmest take a look people made died as a consequence of what this man do is possible the united states will beattacked because terrorists may now know

how to protect themselves in some way oranother that they didn't know before concerning all where we have heard this record i myself was subject to precisely thisrhetoric to three years ago extended all proved to be foltz knownfrom the pentagon known to me any government person sitting in ourrelations in the past six years has caused anyone vowed to come to physicalharm thailand the revelations by snowden i mean these are even more uh...abstract

uh... i wrote bone to pick you upstephanopolous he's asking tough questions as he should have the guy he'sgot a problem although they never seen asset of thegovernment but okay you've got a side issue and so you job as a partner justas i look at me and rose per once it has no questions bumper on the problem isjohn kerr america's it'd kill with paris mike attack us why visa was stolen reveal what the realyou reveal that we were spying on americans

and i would help terraced house all my god they are men did you hearturns out they might be tapping our phones notion sherlock irregularity sorely tried it out theirphones well usually elk hills on all my god ido look at what's known says hikind are they uh... did you go what kind of false or are you

i want to one job bullshit in the sizesright who do i know we do is obvious one until i blew it no during week elise what we found out wasthat people are gonna die because of what the u_s_ government was doing nowbecause the wiki leaks did you see there patchy were video well we mark up one journalist and first responders who came in assigns didn't do that bradley menkenknew that william dot

as the american government we did aviolent fifteen thousand extra civilians killed in iraq out kinda had that too uh... we didn't want to know the fifteenthousand extra people died damas side but assigns didn't kill those guys has agrand jury in alexandria virginia that it's uh... trying to indict assignjen all the people we killings watch for revealing information that they gonefrom a source that's would draw a list of supposed todo

and then got most of our journalistlocked up not physically but mentally but don't herman is right i want toreveal anything storm chris one of the washington postand said hair i have a story bicycles they are out of our government first and if you take a long time a slow and waited and waited names likealright you into the gardens are going very well tears i you're one of the future willslap you are on the story stadium straight hour on the store

and then of course heartland greenwald ican't believe it every wednesday some congressmen out there talking abouthow we should try glenn greenwald you got a couple of journals left in theworld that actually reveal what the government is doing a democracy gotta goget 'em right now here's more massage united states that cancelled hispassport united joseph biden out of the day before yesterday tough personallycold president korea her trying to pressure him first unacceptable span style and his arrested three oldhabits and international right

and i think that's every citizen but hasthe right to their citizenship to to take someone's principal competitivecitizenship the passport away from them size of disgrace plans to slow it hasn'tbeen convicted over anything turner international once after hisarrest uh... to take a passport from a youngman in a difficult situation like that is a disgrace he's using zero but he is told two people all of the world's andthe united states that there's a mass unlawfulinterception of the communications thing about you know the password a lotof people see that i was like well of

course renew that we want to garybiggest passport away but assigned this right he's madeconvicted of anything son even international warrant for hisarrest saudi take huge there's murderers and rapists thatare wanted in this country we don't think they're passport no uh... but being murdered or they rape americans yeah a big deal the biggest crime even knew is againstthe government

if you dare chose the government but wehaven't actually charged you proven it convicted you wouldn't have any of thatone can say his passport away is is no longer x in essence you say he's no longer acitizen a recognized person 'cause he's done the greatest crime of all share information with the americanpeople you can't do that you must bow your head to the government we live in nineteen eighty four

there only a few brief people speakingthe truth giulianna sizes up among them and so skilled

asking alexandria meme

asking alexandria meme

hey what up peeps, it's ya boy ethan from h3h3. the sun finally came out, it's a beautiful nice warm day here in new york city and i wanted to show you all at home what i'm about. a little peep into the world of e.k. from h3. vape naysh, ya'll! ♪ chill synth backing track with vinyl scratch noises ♪ today i'm on a mission to rip the fattest vape. so i'm heading down to my favorite smoke shop in new york city to vape up. welcome to vape city.

home of the fattest cloud rippers in the world i'm here to kick it up a notch and become one of the best. let's check it out. hey, what's going on man. assistant: how you doin' buddy heard ya'll had vapes here. assistant: yeah, we do cool, dude

[awkward silence] s- sick! so i'm looking for like a fat... something i can rip like fat on. like the fattest rip you've got here. [weird moaning exhale] so we building the perfect vape for the perfect rip? (psh) far out dude, vape naysh. something natural like mountain dew flavour, or like...

i don't know, cheetos or something. churros! organic, churro flavor. pshhiiit, thats nat... i'll take that, that sounds good and natural. churros flavor, alright. now we here at the vape naysh are all about going green and staying natural, okay. so when i think about smoking churros, i'm thinking... you know what i mean? go green! [moans and exhales]

- hehehe [intense inhalation] [tiny choking noise x3] [coughing and choking sounds] (hoarse) hell yeah, dude. [more coughing] shit, hell yeah dude. that's just what i wanted. not so hard? you don't hold it inside?

maybe you don't. ♪ dank beat drops ♪ [more coughing and choking] just what... that's good, that's good. now how long does a full chamber last? really? probably last me a couple hours. [assistant laughs awkwardly] ♪ dank beat continues ♪

[car noises and ethan inhaling deeply] [choking sounds and dry heaving] i'm on my way back to my hood now to try out my sick new vape but first, i wanted to stop by the local news and say waddup. ♪ chill beats ♪ [police siren sound effect] [choking and coughing] vape nation on the neews! represent the nation, ya'll.

[deep inhale] four-twenty every day! every day! cures cancer! smoking cures cancer. nah it's good, trust. vape naysh. appreciate it. my day is never complete until i've done some missionary work to spread the good word about the vape naysh.

go green. peace. god bless. wassup guys, go green. people aren't ready for the nation but, eh, they'll come around [to man running] go green. and now, finally, it's time to put this sick new vape to the test. you all wanna know what i'm about? i'm about chasing the fattest clouds and ripping the fattest vapes.

welcome. to the vape nation! ♪ dankest beats of all time drop ♪ ♪ hila - "i'm ethan bradberry" ♪ ♪ dj khaled - "i'm grilling and i'm fucking at the same time" ♪ (repeatedly) [music interrupted by coughing] ♪ ethan - "this shit is bananaaaas" ♪ [even more coughing and choking] ♪ proud of you ♪ ♪ e-e-ethan bradberry ♪ x3

♪ dj khaled - baby u smaht ♪ x 8 vape naysh yaaaaaaaaaa'll! ♪ dank outro beats play, khaled sampled ♪

asking alexandria members

asking alexandria members

here come that boy! just kidding, it's me, hillary. [music] as a mother,i understand how difficult it is for young people to deal with student debt. so i'm going to lower college costs somuch that you'll say. >> damn, hillary. back at it again with the education reform! >> donald trump thinks buildinga wall will make america great again.

but that's none of my business. my business is a foreign policy sogood you'll wanna harlem shake. people are always asking me what'sthe best method of gun control. i say no scoping some weakass noobs across the map. what's trump's k/d ratio? he hasn't even shared his gamer tag. i've got the dankest memes. vape naysh, y'all. emojis.

no cat will be grumpywith a sound economy. [bork] hoverboard! text messaging! doge! i'll dab to that. yeah, i vape, so what? pokemon go to the polls. i'm sorry, are my memes too dank for you?

don't let your memes be dreams.

asking alexandria meet and greet tickets

asking alexandria meet and greet tickets

hello i'm jeremy clarkson, and i have received a message. it's from somebody called holdenman3000 and it says 'i was really looking forward to the grand tour but amazon prime still isn't available in my country. hammond: where's he from? clarkson: no idea. '...and i’m sick of it and i don't want to watch your show any more and i won't

watch it even if i can which i can't. screw you grand tour... screw you.' hammond: strong stuff, but he's right. when the grand tour launches on november the 18th it will be available only in the uk, us, germany and japan. may: not so fast because we have received a package from amazon. no, it contains my glasses and a letter... which says in

december we will be launching the show globally, which means you will be able to watch the grand tour in over 200 countries around the world. hammond: oooh what else does it say. may: it also says blah blah blahblahblah... you annoying short ass.... blah blah grunting oaf...blahblah...one with the ladies hair clarkson: no, no it's very specific about it, it says old

ladies hair. may: no it doesn't say that, it says the one with ladies hair. clarkson: okay may: ah no it says when the grand tour launches worldwide everyone will be able to catch up on the shows that have aired to date, and then get a brand new episode every friday on amazon... and remember to keep an eye on the grand tour facebook page for more news. clarkson: so there we are the grand tour, soon to

be available to everyone... except you holdenman3000, you're banned. hammond: wherever you are

asking alexandria manchester

asking alexandria manchester

person of interest in the heist. 3 manchester police are asking for your help to find some bad guys....police say two men walked into the a gas station on tolland turnpike yesterday morning with guns and demanded

Selasa, 25 April 2017

asking alexandria madrid

asking alexandria madrid

the first evidence of john titor’s existence appeared on an online forum for the time travel institute on november 2, 2000. each post was accompanied by this symbol, which was later revealed to be a military designation from the future. under the name timetravel_0, the individual introduced himself by describing the “six parts” of a working time machine... ...including the use of dual micro singularities and an electron injection manifold to control their mass and gravity. timetravel_0’s name, john titor, was not revealed until january 2001, when his posts began appearing on the art bell bbs forums. he explained he was an american soldier from 2036 who was on a secret mission triggered by an impending technological apocalypse. these still undeciphered scans of the manual for his "c204 time displacement unit" were offered as proof of his claims. according to titor, he was on his way back to 1975 to retrieve an ibm 5100 machine needed to debug the unix 2038 error... ...a coding limitation that could cause computers to fail on a scale beyond the worst predictions for the y2k bug.

among titor’s eerie predictions was cern’s discovery of mini black holes in 2001 that were to become the basis for his travels... ...although others, such as warning of a us civil war after an election, appeared to be incorrect or part of an alternative future. titor mentioned that the many-worlds theory of quantum mechanics had been validated, suggesting many timelines were possible. he also claimed that while still unsolved in the future, it was suspected that ufos and aliens were more advanced time travelers. the john titor posts ended in march 2001 without explanation, and his identity has neither been confirmed nor disproven... sometime in 1943, it is alleged that the us navy destroyer escort uss eldridge participated in project rainbow... ...a top-secret experiment to test new “cloaking” technology that would render the ship invisible to detection. also known as the “philadelphia experiment,” the tests centered on albert einstein’s unified field theory... ...and supposedly manipulated the forces of electromagnetism and gravity to make the uss eldridge temporarily disappear.

details of the experiment’s shocking results were allegedly leaked by a sailor on the support ship ss andrew furuseth. using the alias “carlos miguel allende”, carl meredith allen claimed that the uss eldridge momentarily vanished into thin air. it is speculated that a powerful magnetic field generator aboard the eldridge bent not only radar and light as intended... ...but also inadvertently warped gravity to create a dilation of time and sent the ship and crew back several seconds in the past. when the eldridge reappeared, it is said that sailors ended up on different decks or were embedded in the ship’s metal hull. rumors suggest that the navy was never able to control or calibrate the phenomenon at the time to make it survivable... to this day, navy officials maintain that no such experiment was ever conducted and that no such technology exists... eduard albert meier is a swiss citizen born in 1937 who claims to have first been visited by extraterrestrials in 1942. he alleges that his initial contact was with an elderly humanoid named sfath who was of a race known as the plejaren.

according to meier, the plejaren appear similar to humans and are from an earth-like world called erra. they are said to exist in an alternate dimension that is shifted a fraction of a second away from our own. meier suggests that extraterrestrials are able to visit earth by manipulating the flow of a time unit known as a chronon... ...and he claims that two alternate timeline races, the plejaren and the timarians, have the ability to travel through time. meier himself has also claimed to time travel along earth’s timeline and has presented a number of photos as evidence... ...appearing to show ufos in the present, prehistoric scenes in the past, and devastated scenes of earth’s future. it is said that meier has collected approximately 1,380 photos from his travels through space and time. much of his work remains unverified, but he has attracted a devoted cult-like following known as figu... ...the free community of interests for fringe and spiritual sciences and ufology that closely guards his secrets...

as a young child, andrew basiago claims that from 1968 to 1972 he participated in a darpa project code-named pegasus... ...a program in which the us military supposedly perfected time travel technology based on secret research by nikola tesla. over 100 children were allegedly recruited for the “chrononaut” program and chosen for their young and flexible brain placisity. it was believed that they would be best equipped to survive the “mental strain of moving between past, present and future.” according to basiago, he and other children were information couriers who delivered future intelligence to us presidents... ...and he claims that he accidentally appeared in this photo from lincoln’s gettysburg address during one of his trips. based on his experience, basiago came to believe that not all of his time travel missions were in the same earth timeline... ...an “alternative dimension” hypothesis of time travel that could explain his wildest claims of meeting aliens on mars. basiago has since made it his duty to expose the us government’s secret time travel program for the greater good of humanity...

...and he is thought to be one of the two "planetary-level whistle blowers" predicted by the mysterious web bot project... as an accidental time traveler, the simplicity of sir victor goddard’s story perhaps makes it one of the most believable... ...and it is enhanced by his high-ranking status as a british air marshall who was knighted for his outstanding service. in 1935, goddard was allegedly piloting a hawker hart biplane when he encountered a storm over the abandoned drem airfield. the turbulent and bizarre brown cloud was unlike any weather he had ever entered before and it sent him into a tailspin. barely recovering from an almost certain crash, goddard suddenly found himself back over the abandoned airfield... ...except it appeared to him to be fully operational with yellow monoplanes and raf engineers in brown, not blue overalls. at the time, goddard could not make sense of what he saw, and his friends could barely believe him when he described the scene. no such planes existed in the raf in 1935 and the uniform colors that he saw were not worn by any raf mechanics.

it would not be until the start of world war ii in 1939 that goddard realized he may have experienced a slip in time... ...when the drem airfield was reopened for war, the yellow magister fighter was built, and raf overalls were changed to brown...

asking alexandria lyrics

asking alexandria lyrics

oh sweet insanityyou take my hand and walk me out into the darkwe walk this road for hours and hours to the white hills, and the oceans on a collision course, to hell we marchwe're doomed to this now oh the ironyif i'm going down i won't go down alone you're doomed to this oneyou're doomed to this now hold your breath my dearwe're going under i've walk this road for hoursto the white hills, and the oceans i search for solace in this toxic land ofsin

just let me indon't wake me up, their songs are soothing their wine subdues mehold your breath my dear we're going under dreams, my mind won't me lift from my dreams[. from: http://www.elyrics.net .] and though i try i can't escape my minddreams, my mind won't lift me from my dreams and though you try you can't escape me now you've seen what i've becomenow you've seen what i can do now you've seen what i'm capable of i've walk this road for hours to the whitehills, and the oceans

their wine subdues me welcome to the diary of a man that lost hismind so long ago welcome to the shell of a man with a heartso black and cold over and over in my head

asking alexandria london

asking alexandria london

hello. my name is emma, and this is my friend gizmo, andtoday we are going to help you learn english. today's english isall about dogs. okay? so, let's ask some questions togizmo, and we can get some answers. our first question: do we callpets "he", "she", or "it"? what do you think, gizmo? usually for pets we liketo use "he" or "she". so you might ask somebody: "what's her name?"or "what's his name?" when you're talking

about a dog or a cat. we usually use "it" for wild animals, althoughsometimes we also use "he" and "she" if we want to personify them. so, majority of the time we use "he" or"she" when we're talking about pets. okay, question number two:what is pet hair called? do you know the answerto this one, gizmo? it is called fur. f-u-r, fur. as you can see, gizmohas a lot of fur.

we use the word "fur" when we're talkingabout cat hair, dog hair, hamster hair. it's what we call fur. okay, our next question:what are pet hands called? okay, let's show gizmo's off. so gizmo, what is this called? this is a paw. so, dogs and cats have paws. i'm just going to putgizmo down for a second. there you go.

okay, so his handsare called paws. okay, our next question:what does "canine" mean? "canine" is another way to say "dog", but"canine" is more scientific sounding. so if you're reading a science book or somethingthat's formal writing, you will probably see the word "canine". it's the science... scientific word for dog. we also have the word "puppy". what does the word "puppy" mean?

"puppy" means a baby dog. so, when a dog is very small and veryyoung, usually around, you know, two months to one year,we call it a puppy. for kittens, that's what wecall a baby cat, a kitten. okay, our next question is a verygood one: what sound does a dog make? sounds are very cultural. in different cultures, animalsmake different sounds. for dogs, in english, dogs can either bark,they can say: "woof woof", or they can say: "ruff ruff".

is this different than whatdogs say in your language? if you're wondering with cats or with, youknow, all sorts of other animals, you can actually check out ronnie's video which coversa lot of these different animal sounds if you're interested. okay, finally, our last question for vocabulary:what do you call a dog with no home? so a dog that livesin the streets. we call a dog with no home a straydog, or we can also say a street dog. so we would say: "that dog has no owner.he's without a family.

he's a stray dog." or: "he is a street dog." so now let's look at some grammar and pronunciation,and cultural tips about talking about dogs. okay, so our next question is a grammar question,and it's a very important grammar question. okay, so let me hold gizmo. okay. so, gizmo, you seethese two things? "i like dog", "i like dogs". do you know what the differencebetween these two sentences are?

no? okay, well, let me tell you. "i like dog" is very differentthan: "i like dogs". when you want to say you like dogs as in,you know, you think they're really cute and funny, and you enjoy them, yousay: "i like dogs" with an "s". this is different from:"i like dog" with no "s". if you say: "i like dog" it makesit sound like you like to eat dog. and this is true fora lot of animals. if we say: "i like chicken", itmeans i like to eat chicken.

this is very different from: "i like chickens",which means: "i think chickens are cute. i enjoy chickens, and i findthem very interesting." okay, so the next question is apronunciation question, and that is: what is the pronunciation differencebetween "dogs" and "ducks"? so a duck is an animal, you know, that says:"quack quack", at least in english it does, and a lot of students, when they say thesewords they pronounce them the same way. so people don't know if you'retalking about a dog or a duck. so, what is the differencein pronunciation? well, "dog" has a differentvowel sound than "duck".

"dog" is longer, we say: "dawg". compare this to: "duck", whichis very short and a bit sharp. this is an "aw" sound:"dog", versus "uh": "duck". okay? so you notice the vowel sound here isshort, whereas the vowel sound here is long. when we add and "s" to "dog" and an "s" to"duck", we also have a different sound. in "dog", because of the "g", the "s"becomes a "zz" sound, as in a "z". so we say: "dawgz". you might not hear it, but there's a littlebit of a "zz" sound at the end of that. "dogs".

now, this is different from "ducks",which has a "ss" sound or an "s" sound. so there is apronunciation difference. say this one short with a "ss" sound, andthis one is longer with a "zz" sound. okay, great. so now let's look at somecultural questions about dogs. okay, so our next question: whatdo north americans think of dogs? and a lot of people in england thinkabout dogs this way, and australia. and this isn't everybody, but this iswhat a lot of the population think. what is their opinion on dogs?

well, let's get gizmoto help me out. gizmo, come here. okay, i'm going to pick him up. ah, here we go. so, in north american culture, dogs likegizmo are often treated like family members. some people even treat them as if they are theirchildren, although this is not everybody, but they really do care about theirdogs and they treat them like family. all right. this is gizmo's first time on camera, so ifhe's a little nervous, he's never been on

camera before. all right, let's look at thenext question, small talk. so, dogs are actually areally, really good...? oh, you want down, buddy? okay, i'll put you down. sorry. okay, so dogs are actually reallygood topics for small talk. if you ever have a conversation with somebodyand you see they have a dog, talking about their dog is agreat thing to do.

so if you're in the elevator or at the parkand you just want to meet somebody, you can ask them about their dog. here are some greatquestions, you can ask them: "what's your dog's name?","what's his name?", "is your dog a boy or a girl?","is it a male or a female?", "how old is your dog?" "how long have youhad your dog for?" okay, so another really good questionis: "what kind of dog do you have?" so in this case we're askingabout the type or the breed.

so there are many differentbreeds or types of dogs. there are chihuahuas, there are germanshepherds, poodles, you know, dalmatians. there are tons ofdifferent types of dogs. gizmo, in case you're wondering,is a lhasa apso-papillion mix. beautiful breed. and so people do liketalking about this. you can ask themabout their breed. are they mix? are they are purebred?

which means they are only onekind of dog, like a poodle. and there is so many different questions youcan ask about dogs, but it's something people really love talking about. so i highly recommend if you see a personwho has a pet, it's something that's a good thing to talk about. okay, so like i said, our petsare like our family, here. oh, thank you, gizmo,for that kiss. so, one thing i wanted to say is that a lotof the times in north american culture you'll actually see thatdogs are indoor dogs.

they're not outside a lot. they're actually... they actually stayinside with us a lot. sometimes, you know, they sit on ourcouches, and for some people they even... like might share, like, the same bed or theymight sleep on the same bed that, you know, their owner has. one other cultural thing that you might noticeif you ever come to canada or north america is that a lot of dogsactually wear clothes here. and gizmo is also...

he wears clothes, too, especially in thewintertime because it does get very cold. so a lot of dogs have winterboots and winter jackets. so if you come here, don'tbe surprised to see that. sometimes people dress up their dogs for fun,other times it's a necessity because it is very cold during the winter. okay, so gizmo and i would liketo thank you for watching. you know, we've had agreat time today i think. isn't that right, gizmo? yeah, he's a bit sleepy now.

oh. okay. so he's just going to say bye. so we hope you subscribe to our channel, andwe have a lot of other resources there. and if you come check out engvid at www.engvid.com,you can actually take a quiz on everything we learned today. all right? so thank you, gizmo,for your help today. and i hope you'veenjoyed this video. until next time, take care.

asking alexandria logo

asking alexandria logo

the first evidence of john titor’s existence appeared on an online forum for the time travel institute on november 2, 2000. each post was accompanied by this symbol, which was later revealed to be a military designation from the future. under the name timetravel_0, the individual introduced himself by describing the “six parts” of a working time machine... ...including the use of dual micro singularities and an electron injection manifold to control their mass and gravity. timetravel_0’s name, john titor, was not revealed until january 2001, when his posts began appearing on the art bell bbs forums. he explained he was an american soldier from 2036 who was on a secret mission triggered by an impending technological apocalypse. these still undeciphered scans of the manual for his "c204 time displacement unit" were offered as proof of his claims. according to titor, he was on his way back to 1975 to retrieve an ibm 5100 machine needed to debug the unix 2038 error... ...a coding limitation that could cause computers to fail on a scale beyond the worst predictions for the y2k bug.

among titor’s eerie predictions was cern’s discovery of mini black holes in 2001 that were to become the basis for his travels... ...although others, such as warning of a us civil war after an election, appeared to be incorrect or part of an alternative future. titor mentioned that the many-worlds theory of quantum mechanics had been validated, suggesting many timelines were possible. he also claimed that while still unsolved in the future, it was suspected that ufos and aliens were more advanced time travelers. the john titor posts ended in march 2001 without explanation, and his identity has neither been confirmed nor disproven... sometime in 1943, it is alleged that the us navy destroyer escort uss eldridge participated in project rainbow... ...a top-secret experiment to test new “cloaking” technology that would render the ship invisible to detection. also known as the “philadelphia experiment,” the tests centered on albert einstein’s unified field theory... ...and supposedly manipulated the forces of electromagnetism and gravity to make the uss eldridge temporarily disappear.

details of the experiment’s shocking results were allegedly leaked by a sailor on the support ship ss andrew furuseth. using the alias “carlos miguel allende”, carl meredith allen claimed that the uss eldridge momentarily vanished into thin air. it is speculated that a powerful magnetic field generator aboard the eldridge bent not only radar and light as intended... ...but also inadvertently warped gravity to create a dilation of time and sent the ship and crew back several seconds in the past. when the eldridge reappeared, it is said that sailors ended up on different decks or were embedded in the ship’s metal hull. rumors suggest that the navy was never able to control or calibrate the phenomenon at the time to make it survivable... to this day, navy officials maintain that no such experiment was ever conducted and that no such technology exists... eduard albert meier is a swiss citizen born in 1937 who claims to have first been visited by extraterrestrials in 1942. he alleges that his initial contact was with an elderly humanoid named sfath who was of a race known as the plejaren.

according to meier, the plejaren appear similar to humans and are from an earth-like world called erra. they are said to exist in an alternate dimension that is shifted a fraction of a second away from our own. meier suggests that extraterrestrials are able to visit earth by manipulating the flow of a time unit known as a chronon... ...and he claims that two alternate timeline races, the plejaren and the timarians, have the ability to travel through time. meier himself has also claimed to time travel along earth’s timeline and has presented a number of photos as evidence... ...appearing to show ufos in the present, prehistoric scenes in the past, and devastated scenes of earth’s future. it is said that meier has collected approximately 1,380 photos from his travels through space and time. much of his work remains unverified, but he has attracted a devoted cult-like following known as figu... ...the free community of interests for fringe and spiritual sciences and ufology that closely guards his secrets...

as a young child, andrew basiago claims that from 1968 to 1972 he participated in a darpa project code-named pegasus... ...a program in which the us military supposedly perfected time travel technology based on secret research by nikola tesla. over 100 children were allegedly recruited for the “chrononaut” program and chosen for their young and flexible brain placisity. it was believed that they would be best equipped to survive the “mental strain of moving between past, present and future.” according to basiago, he and other children were information couriers who delivered future intelligence to us presidents... ...and he claims that he accidentally appeared in this photo from lincoln’s gettysburg address during one of his trips. based on his experience, basiago came to believe that not all of his time travel missions were in the same earth timeline... ...an “alternative dimension” hypothesis of time travel that could explain his wildest claims of meeting aliens on mars. basiago has since made it his duty to expose the us government’s secret time travel program for the greater good of humanity...

...and he is thought to be one of the two "planetary-level whistle blowers" predicted by the mysterious web bot project... as an accidental time traveler, the simplicity of sir victor goddard’s story perhaps makes it one of the most believable... ...and it is enhanced by his high-ranking status as a british air marshall who was knighted for his outstanding service. in 1935, goddard was allegedly piloting a hawker hart biplane when he encountered a storm over the abandoned drem airfield. the turbulent and bizarre brown cloud was unlike any weather he had ever entered before and it sent him into a tailspin. barely recovering from an almost certain crash, goddard suddenly found himself back over the abandoned airfield... ...except it appeared to him to be fully operational with yellow monoplanes and raf engineers in brown, not blue overalls. at the time, goddard could not make sense of what he saw, and his friends could barely believe him when he described the scene. no such planes existed in the raf in 1935 and the uniform colors that he saw were not worn by any raf mechanics.

it would not be until the start of world war ii in 1939 that goddard realized he may have experienced a slip in time... ...when the drem airfield was reopened for war, the yellow magister fighter was built, and raf overalls were changed to brown...

asking alexandria live

asking alexandria live

well, first of all i want to apologize for not having posted anything last week, i recorded a video, but in time to edit the file was corrupted and i had no time to do it all again. i promise i'll make it somehow. today i will talk about "the black", new album asking alexandria finally came out after nearly 3 years of waiting. the album was released on march 25 (last friday), we had around 6 singles and was produced by joey sturgis. the album's first single was "i will not give in" which was released on may 26, 2015, almost one year ago and this single brand to enter the denis stoff in the band. it also marks the band's return after a "hiatus" comes the departure of danny and the entry of denis. the second single was "undivided" which was released on september 25, 2015, shortly after the release of this single the band toured around south america with blessthefall passing through brazil, they did two shows, one in sã£o paulo and another in rio de janeiro in december. the third single and the first official single was the title track of the album "the black", was launched on february 1, 2016 with an official video.

the fourth single was the track "let it sleep" which was released on march 4, 2016 also with an official video. the fifth single was "here i am" which was first played on bbc and was released on 11 march. the sixth and final single "send me home", he was played for the first time on bbc on march 20 and if i'm not mistaken, released 1 or 2 days later by sumerian records on youtube. well, one thing that marked me on this album beyond the entrance denis, was the "diversity" of the album styles. on this album you can hear from avenged sevenfold to lana del rey, each song has a different style from the other for example, "let it sleep" is a more aggressive song that closely resembles the album "reckless & relentless", but you can hear "gone" and remember enough of lana del rey by the way ben sings which makes the album is diverse with many different styles where you can hear songs that quite resemble the old albums of the band but additionally has music, that are showing that the band also this with one foot in the future and showing an evolution of the band such as the song "i will not give in" which is different from the previous work of the band. i liked the album, for me the album was good, but i feel something missing on this album, the band could have done more.

one thing that kind of broke my expectation and my anxiety for this album was the number of singles released, much material has been disclosed so when the album was officially released, it had little that you had not heard yet so, for me, the album was good, but still something missing. changing the subject a little, brutal kill will launch a new collection, the release date has not yet been released, will likely be in early april, but every day up to the launch, the brand launches spoilers of the new collection in social networks if you want to know more about the brand, links will be in the description, do not forget that every day at 7pm est they will post something about the new collection. well, if you enjoyned the video, subscribe the channel, share the video, like the video and until next time!

Senin, 24 April 2017

asking alexandria live dvd

asking alexandria live dvd

the end of heartache i want hear every voice in this place are you ready \m/ everbody on top, everybody on down, come on seek me call me i'll be waiting beast scream by howard jones \m/ i want you all join me

come on this distance this dissolution i cling to memories while falling sleep brings release, and the hope of a new day waking the misery of being without you

surrender i give in another moment is another eternity adam d: seek mehoward: for compfort adam d: call mehoward: for solace adam d: i'll be waitinghoward: for the end of my broken heart adam d: seek mehoward: completion adam d: call mehoward: i'll be waiting don't stop now

you know me you know me all too well my only desire to bridge our division in sorrow i speak your name and my voice mirrors my torment howard: for comfortadam: call me howard: for solaceadam: i'll be waiting

for the end of my broken heart adam: seek mehoward: completion adam: call mehoward: i'll be waiting adam: i'll be waitinghoward: for the end of my broken heart am i breathing? my strength fails me your picture, a bitter memory yeah !!!! adam scream!!!!! \m/ better than asking alexandria hahaha

for compfort for solace

asking alexandria live 2016

asking alexandria live 2016

a stranger to most but everyone knows his name the city he wakes up in is never the same (never the same) it gets hard to count the days with only stars to lead the way and in his heart of gold he knows this has to change so send me home i have lost my way

and i don't even know if we'll make it through today take another step take another breath i fill my lungs with my deepest regrets and i dont know if i'll make it home again it gets a little harder day by day the loneliness is swallowing me i listen to the silence, to hear what it might say (hear what it might say)

who will pick me up again? i need you here, i need a friend we'll get lost in the time that's stolen so take my hand and send me home and i don't know if i'll make it home again take, take, take all that i've got (got, got) all i need is one more moment i just have to end this torment take, take, take all that i've got

take my hand and lead me home again (just take my hand)

asking alexandria live 2015

asking alexandria live 2015

den, thank you for visiting our... cellar. - of course. so, you were invited by group, english group, to be their vocalist? - yeah, exactly. - have you already recoreded some track, together with new group? - yes, yes, it released literally 27-th of may, at night. and so... and it get more then six hundred thousand views for the first day. - on the youtobe, yes? - yes now this track is #1 in the charts of itunes wordwide. so yeah, all are fine now. - super. - but why do they contact exactly with you?

- well, may be i'm exactly the man, that should be apply to. - how old are you now? - 23 - it means, that in twenty three, you were invited by the group, that have ten millions views on youtobe that plays great concerts in britain, weren't you? - yes. - and you'll be british super star? - well, seems like yes. - and you'll immediately begin a concerts, tour around the world, all? - literally 2-nd or 3-rd of june i'll get a schengen and immediately fly to the czech republic.0:01:27.240,0:01:29.760we'll have a concert on the festival there - 45000 people. and so. and this day i'll finally meet my group. well, i knew them before, but now i'll met them like real member of group.

we'll shake hands and try to feel, what is our set for today. and we'll play our first concert immediately. - and you'll play so confidently, without rehearsal, with them your first concert? what allows you to be so confident that all will be ok, that you'll play good? - we're good musicians. i know that we will do it. - well, it's immodesty enough) - well, it's rock&roll. - i know that before this, before playing with this group, you had two more groups. but you weren't so famous in ukraine with that two groups, like abroad. - yes. - what were these groups, can you tell their names?

- i had two groups before, the first called "make me famous" and second called - "down & dirty" - den, and how did you start all this? well... how did you get to this rock show-business? how did you become a star of metal-core and so on? - it started from the moment, when i started to shoot a little cover-videos with my old camera in my room, at home, in hartsizk. youtobe just appear in our lifes then. and i saw that people put their covers there, and it was interesting for me to see them. and then i thought, may be i should try to do the same, why not? i learned music too, played guitar,

tried to sing, learned, well, and i begin to gradually shoot this videos. and then, i didn't even notice how, i saw that number of views grows and number of subscribers grows too, and people like it, and they wanna more - so i just continue to do this. mainly, my viewers were from usa, from europe, england and so on, and it helps me to show my music - i just upload, for example, my first song to my youtobe-channel. well. and could show it to the people, who were there. ðnd then they did their trick - they just spread it and... simply started to write labels to manage a company. - for you? - yes,

who wanted to try to work with out group. and this way it happened. - nice. den, thank you for visit, i wish you luck with your new group. - no problem, thank you very much. - come visit ukraine with megaconcert in "palats sportu", or better... in the republic sta... ð¾h, in the stadion. how it called now? in the olympic stadion come, not only vakarchuk should gather it, and then.. - we'll hope. - thats all, super, thanks.

asking alexandria list of songs

asking alexandria list of songs

i wouldn't hold my breathif i was you cause' i'll forget but i'll neverforgive you don't you know, don't you know? true friends stab youin the front (bridge) somebody knows they can't no wonder they don't want youback you explain itthen, detective

it's just kids my horses have noheads kids don't do this you think thisis about us? not us, son this is abouther they leave a message? just like last time in thebarn it's funny how things work out such a bitterirony like a kick right to the teeth it fell apartright from the start but i

couldn't even see theforest for the trees (i'm afraid you asked for this)you got a lot of nerve but not a lot of spine youmade your bed when you worried about mine thisends now i wouldn't hold my breath if i was youcause i'll forget but i'll never forgive you don'tyou know, don't you know? true friends stab you inthe front i wouldn't hold my breath if i was you youbroke my heart & there's nothing you can do andnow you know, now you know

true friends stab you inthe front it's kind of sad cause what we had well itcould have been something i guess it wasn't meant tobe so how dare you try and steal my flame just causeyours faded well hate is gasoline a fire fuellingall my dreams (i'm afraid you asked for this) yougot a lot of nerve but not a lot of spine you madeyour bed when you worried about mine this ends now drinking again are we?

what do you want? it's time we had atalk, don't you think? it's just that i saw yourdaughter last week she look like she'd hurtherself kids hurt themselves but she's safe? we don't want her to gomissing as well are you trying to say something? you fucker

not again you're joking right? when will you learn thatit had nothing to do with me? your marriage endedbecause of you you lost her all on your own ok it was me and you came to the rescue well now you lost her didn't you?

but you still have something so have you a fucking screw loose i've figured you out tom i wouldn't hold my breath if i was you causei'll forget but i'll never forgive you don't youknow, don't you know? true friends stab you inthe front you can run but you can't hide time won'thelp you cause karma has

no deadline you can runbut you can't hide time won't help you cause karmahas no deadline what the fuck? what! i was talking about themarks you gave her i know it's you, you bastard why else would i find her hidingat the old station i wouldn't hold my breath if i was you cause i'llforget but i'll never

true friends stabyou in the front and now you know, now youknow true friends stab you in the front and now youknow, now you know true friends stabyou in the front

asking alexandria linz

asking alexandria linz

john legloahec:good afternoon, everyone. and welcome back to the d.c. archives fair and the first ofour three afternoon sessions. i'm john legloahec, the marac chair, and happy to introduce oursession on monuments men archives features, barb aikens, maygene daniels, and greg bradsher.for those of us who are joining virtually, if you have a question, you can send it alongto the chat function and we will offer your question to the panelists following theirpresentations. first up will be barb aikens, the moderatorfor the session, who is chief of collections processing at the smithsonian's archives ofamerican art where she has over 20 years' experience at the smithsonian. she is currentlysenior member of a grant funded team working

on a large scale digitation initiative whichrecently ended its sixth year and barbara also serves as the head a collaborative projectto create an ead consortium throughout the smithsonian institution. so barb, the flooris yours. barbara aikens:welcome, everyone. and thanks for joining us today. by now most of us are aware of thestory and the heroics of the world war ii monuments men or the monuments and fine artsand archives section of the u.s. army. some of us are hyper-aware of the story becauseof the hollywood film and the unprecedented interest it has generated in our shared collectionsof archival resources documenting the work of the monuments men.

so today, as you already know, myself, maygene,and dr. greg bradsher from the national archives. i am also currently managing a grant projectthat is funded by the samuel h. kress foundation for the preservation, processing and creationof online ead finding aids for eleven archival collections that are central to world warii era art provenance research. this project led us to rediscover our monuments men collectionsand i and my colleague, rihoko ueno, organized our current exhibition which has generateda surprising level of interest. also speaking today is maygene daniels, chiefof the national gallery of art gallery archives, the department that cares for monuments menpapers and other records documenting the gallery's history. she was curator of the display thatis in the west building, founder's room, concerning

the monuments men and the national galleryof art, and has written and spoken often on subjects relating to the gallery's past. shebegan her career at the national archives where she worked in various custodial unitsand in the office of presidential libraries. finally, we'll hear from dr. greg bradsherfrom the national archives. he has worked off and on with monuments men related recordsfor nearly 20 years. during that time he published two articles about the monuments men in prologue,authored a 1,100 page finding aid -- i am very impressed -- to holocaust era assetsand monuments men records at the national archives, and given presentations to numerousgroups, including the international federation for art research and american associationof museums. he has also co-authored nara's

microfilm publication on the records of theoffice of strategic services, art looting, and investigation unit. so today i'm going to focus on the resources-- just a few of the resources that we have at the archives of american art and our littleexhibition that has been extremely popular at our exhibition space, which is at the donaldreynolds center for american art and portraiture up in chinatown. until recently with the release of the hollywoodfilm, the fascinating story of the monuments men had been forgotten by many, if ever knownat all. they were indeed an unlikely team of art curators, conservators, scholars, architects,librarians, and archivists who joined the

military in service of their country as didmost men during world war ii. most were initially assigned to some kind of desk duty but werelater assigned to the newly formed monuments, fine arts and archives section. their primarymission was to travel with the allied troops and identify and protect european culturalsites from bombing. but towards the end of the war their mission changed to one of locatingworks of art that had been looted by the nazis from the time of hitler's rise to power in1943 to the end of the war. the monuments men recovered and returned some of history'sgreatest works of art that had been stolen and hidden across germany and austria, somein castles and others in salt mines. of course, they worked -- there were other monumentsmen in other theaters across europe. i think

maygene is going to reference those. so why the archives of american art? we collectand make available the papers of artists, art critics and curators, art researchers,art dealers and art patrons. among our 15,000 linear feet of holdings are the personal papersof monuments men george stout, james rorimer, walker hancock, thomas carr howe, s. lanefaison, walter horn, andrew carnduff ritchie, otto whitmann.the bulk of the papers were donated to the archives either by the creators themselvesor their families. in addition, the archives has conducted oral histories with many ofthe men back in the 1970s and 1980s including walker hancock, thomas carr howe, faison,stout, ritchie and charles parkhurst. we did

not collect the papers in oral histories becauseof their work in world war ii, but rather because many of the monuments men went onto highly successful careers in some of the most notable art institutions in this country.the papers that we have provide researchers with a personal perspective that is oftenlacking in the official record, official government record, and further documents their latercareers. as i mentioned, in 2012 the samuel h. kressfoundation awarded the archives $100,000 to help support a project to process and createonline finding aids for 11 archival collections that are central to world war ii era art provenanceresearch. the archives is strong holdings to support art provenance research, many ofwhich are already processed with finding aids,

and the largest at 203 linear feet, whichis fully digitized. the records of -- [indiscernible] an additional goal is to create a dedicatedprovenance web page on our website where researchers can access information about all of our collectionsand oral histories that are most likely to hold information that will assist them withresearching the provenance of artwork that changed hands during world war ii in orderto establish a clear line of ownership. as we were writing our grant proposal, georgeclooney announced the monuments men movie. so while we are shamelessly leveraging themovie for publicity, our original motive was to complete work that fulfills our primarymission. and at the recommendation of our consulting scholars, our monuments men collectionswere originally included in the grant proposal

and all have now been fully processed andead finding aids are available online along with substantial related digital content. so here we see walker hancock, lamont moore,george stout and two unidentified soldiers. so what makes this personal? for all i know,this also exists in -- i don't know, but on the back it's inscribed by thomas carr howeand he refers to george stout as "ol' pop." for example, valuable records for provenanceresearch among the monuments men papers include this inventory or recovered art stolen bygoring, mostly in france, for the personal art museum. there are close to 1,000 worksof art inventoried on the first floor and another 214 sculptures stored on another floorand 82 tapestries. it could be that this document

is also found among nara's but i'm not sure,but researchers may be inclined to use this at the archives of american art or perhapsfollow the trail to the archives american art as they compare this list to gallery salesrecords found among our holdings. there are unscrupulous dealers in europe who are buyingand selling stolen art and some of that art ended up in museums in the united states eitheras a result of outright purchases or through patron and benefactor donations. recovery and restitution of stolen art isa decades long issue and the association of art museum directors and the american associationof museums issued professional guidelines that urge museums to the best of their abilityto determine and disclose the provenance for

works of art in their collections that changedhands during the world war ii era. the guidelines are intended to help identify any works thatmay have been unlawfully confiscated during the nazi regime and never returned to theirrightful owners. so a researcher would come to us to consult our gallery records and personalpapers to establish a documentable chain of ownership. it is a complementary and contextualnature of our holdings that make them so valuable for provenance research. for example, in tracingthe provenance of one particular picasso painting, a researcher can start with the earliest transactionsdocumented in the sellers and gallery records fully online and then find additional correspondenceabout that same painting in correspondence between the original owner, a german dealerwho fled nazi germany, and an art museum director

and dealer in another collection. it is thisinterconnectivity among multiple collections that researchers find so valuable. so now you know our goals remain lofty andarchivally pure and sound. i will highlight a few interesting documents and photographsfrom the exhibition. the exhibition runs through the 20th so you still have time to see it.it's just a few blocks up the street at 7th and 9th street. one collection that we have,we have the william george constable papers, the director of the boston museum of finearts. and he communicates with george stout. there are many letters back and forth abouttheir initial ideas for forming a national conservation corp, one that would addressart disasters here in the united states and

not in europe. one that later expanded toinclude protection of european art as we see here in stout's letter and a draft he wrotefor a plan dated december 1942. in the plan he states, "with the conviction that safeguardingmonuments is an element in the right conduct of war and in the hope for peace, we the undersignedwhich to bring these effects to the attention of the government of the united states andto urge, that means be sought, for dealing with them.and george stout, of course, is working -- he was the leading art conservator in our countryat the time and worked at the fogg museum. and paul sachs, director of the fogg, wasalso part of this core group that formed the harvard defense group. they compiled listsof endangered works of arts in cultural sites.

and i'm sure some of you at least have seenthe movie. it was actually paul sachs who gave that slide show to art colleagues asa call to action in 1941. the work of the harvard defense group supported the formationof the roberts commission and the protection plan signed by the president. so here is a list of the potential monumentsdrawn up by paul sachs. it is a very preliminary list as you can see. it's dated, i think,1943. and here we see -- we do see james rorimer on the list, thomas carr howe, charles parkhurst,and s. lane faison. and on the reverse we see james rorimer listed again and georgestout. the list is by no means complete and final. we don't see walter hancock, for example,who worked later with george stout in the

mines. so i'm going to try to do this. i'm goingto -- i'm going to play an audio clip for you of an interview with walker hancock. andwe're going to hope this works. [oral interview playing] speaker:[inaudible] walker hancock:because of my italian. they were, at that moment, looking for an american born italianspeaking officer and i seemed to fill the bill, and so i was put in the pentagon. andafter seven months in the pentagon, i managed to get out and get into the monuments andfine arts and archives.

speaker:the pentagon work was pretty varied? walker hancock:well it was in an office and very routine. some of it was quite exciting, i mean, theintelligence at that time was a very fascinating thing to be a part of. but it was office workall day every day and never a sight out of doors and never a sight of action or a changeof scene. speaker:you obviously weren't able to do any drawing or --? walker hancock:none. none at all. speaker:and then how did you get toward the fine arts

and monuments? walker hancock:of course, i knew of the commission, the roberts commission. speaker:what was the roberts commission? walker hancock:the roberts commission was a commission formed -- i suppose at the instigation of justiceroberts, because it had his name, but by the president and others to look after, protectas much as possible the works of art, science, architecture in violent areas. and knowingthat this commission existed, of course, i was very eager to get into it, but when theyrequested me, i wasn't allowed to go until

i had found a replacement for myself, whichwasn't so easy to do. but it was accomplished and i got overseas fortunately and had twoyears in europe. speaker:could you describe, why did you want to go into this? because of it stood to try to preservethings that you had loved? walker hancock:that, of course, was the reason, yes. and when one saw what was happening and what wasbound to happen further in the war made you more eager than ever to have a hand in it. speaker:did you go first to england? was this before d-day?

walker hancock:well before d-day, so we were sent to england first to be with the gathering army and atthe same time to write the handbooks that the soldiers would use on the continent, havingto do -- handbooks for the monuments and fine arts activities, and also to frame a directivethat would be signed by general eisenhower that would give officers -- all officers -- theauthority to protect certain monuments or art, architecture, and scientific collectionsand other cultural objects, collections. speaker:well because without that there would have been no -- in the order of priority, an officerwouldn't have paid any attention to those things, right?

walker hancock:no, there would be no hope at all. speaker:how did it -- how did fine art eventually loom so high on the list of priorities?what do you think accounts for that, that eisenhower would finally sign a directive? walker hancock:well, i think that by that time there was a general awareness among all intelligentpeople, army offices included, that this was going to be the most destructive war in historyand that something of that kind had to be done to save a fraction of the endangeredobjects of our culture. [end of oral interview]

barbara aikens:so there's nothing like listening to an oral history, right, to get a real sense of history.see if i can get out of this. so in the interest of time, i just am showingyou a slide of the james rorimer and rose valland paris collaboration. what we havein our papers that you see here on the left are james rorimer's very earliest manuscriptdrafts of his memoirs that he published. and here he writes about meeting valland and tryingto gain her trust so that she will tell him where the arts stolen from france is beingstored. and here she writes, "here, james, these are two photographs for you." this isfrom another page of transcript, sorry. "here, james, these two photographs are for you,they show you where you will find what you

have been looking for. i count on you to getthere and save our treasures before the nazis can destroy them. take my advice, what i tellyou is based on more than a women's intuition." then we go on to the salt mines of alt ausseein austria where the monuments men led by george stout and thomas carr howe found themother-lode, hitler's personal collection of stolen art destined for the future fuhrermuseumin linz. here we see thomas carr howe examining a panel of the ghent alterpiece and georgestout supervising the removal of the bruges' madonna. it was not in the cart as they showin the movie, somewhat different. they had more than an hour, i think, to get it out. but the mines had not been bombed as theyshowed in the movie. the workers, the miners

themselves had already removed what bombsthere were and george stout talks about this in the oral history interview. and the ghentalterpiece was not being used as a table as we saw in the movie. the germans were verymeticulous about storing their artwork and everything was, as you see in the image inthe upper right, it was stored and cataloged and inventoried. and the mines themselveswere not really a terribly bad environment in which to store art. there was temperatureand humidity, stability. so i want you to listen to the oral historyinterview with george stout. no, he doesn't sound like george clooney at all. you'll seethat. i forget how to do this. i'm not seeing what i think i'm supposed to see on the screen.

we're picking up -- george stout:it was interesting because of this connection with the old prussian military tradition.about the next one was at a salt mine in the austrian alps. and i went down there. thatwas third army area, general patton, and i didn't even know the story of that. it wasreally good of you to publish about it. so there's no use going into the whole businessof what had happened in the way of the military and governmental manipulation. hitler's orderswere somewhat confusing. one order was this must never fall into the hands of the enemy.and there were others that weren't quite clear. but what this was, this depository were thecontents of a museum, which hitler was collecting

to be constructed at linz -- i think thatwas his birth place -- as a memorial to his mother. that would have been a great memorialin linz. there were some pretty prime things there, the ghent alterpiece, for example.they find michelangelo from bruges and on down the list -- at the premier from viennawhen they [indiscernible] that's a little sample. and then there were a whole mine workingsof furniture, quite a few sculpture, and just almost countless things of that sort. i don'treally know the total number holding that were there. it's estimated might be 10,000.[end of oral interview] barbara aikens:so here we see george stout at the entrance to the alt ausee mines in 1945. i think it'svery telling that he lets us know that there

are 10,000 works of art stored in this mine.you can access all of the oral history excerpts and most of the exhibition online at the archivesof american arts website, aaa.si.edu. you can also listen to the oral history clips.if you go to the exhibition, there's a number you can call and access the oral history clipson your cell phone. so that's all. thanks. [applause] maygene daniels:thanks, barbara. that was extremely interesting. you'll hear some of the themes that were runningthrough barb's talked repeated in mine. can i make this go up a little? it is extremelyrare for me to ask for a podium to be higher. i'll make do.

my talk is about the monuments men and thenational gallery of art based on the papers and records that are available in the galleryarchives. for some background i'm going to start by mentioning a few of the officersthat had gallery connections. lamont moore was the curator of education at the gallerybefore and after the war. among his other duties he was in the ninth us army mfaa officerin charge of evacuation of looted art from the iron mine at huttenweg. craig hugh smythwas a curatorial assistant at the gallery before the war and as a monuments officerset up the munich central collecting point. john skilton, another curatorial assistant,accomplished what seemed the impossible task of reroofing damaged parts of the [indiscernible]ends in wurzburg, germany to save tiepolo

frescoed ceilings. edith standen cared forthe weidner collection for more than a decade before it was moved to the gallery in 1942and later became an mfaa officer and director of the wiesbaden central collecting point.others, including perry cott had long careers at the gallery after the war. cott was initaly working in the monuments program during the earliest days of the allied invasion andlater he became the gallery's chief curator for more than a decade during the 1950s and1960s. and chuck parkhurst, you've heard of him before,he played a particularly important role in our story. he was a research associate andregistrar at the gallery before the war and he served in the monuments program in germanyin 1945 and 1946 overseeing some of the most

important work moving looted art to safety.but significantly, he returned to the gallery in 1971 as the gallery's deputy director andchief curator. parkhurst had a very sharp understanding of the importance of the monumentsprogram and it was due to him that so many of the monuments men's personal papers cameto the gallery. so while he was working at the gallery in the 1970s he gave his own personalpapers to the gallery and asked his friends and colleagues to do the same. and later whena nexus of related materials had formed, friends and family of other officers gave their papers.these donations included superb collections of jim rorimer, you'll notice, split betweenus and the archives of american art for totally imponderable reasons, but we're happy to havethem.

frederick hartt, edward adams, and others,thus the archives are an important center for study of the individual experiences ofthe monuments men. plus i should add that charles parkhurst made the arrangements forthe national gallery's photo archives, now the library image collections, to create preservationprints of some 40,000 negatives created by monuments officers of works of art that passedthrough the munich central collecting point that are here at the national archives. asan aside, i remember those masses of negatives, many of them glass, in the old national archivesstill pictures branch, 11w, if i remember correctly, where i began work years ago withjim moore decades ago. as another aside, my experience at the national archives was helpfulin another way, because when many of those

monuments officers came to gallery archives,they still had classified documents among them, and so i knew enough to get them declassified,which we did. anyway, the gallery's involvement in the monumentsprogram runs deeper than the lives of some of the officers. to give some more background,the museum opened to the public on march 17th, 1941, a little bit more than 73 years ago.realizing that war was likely, gallery leaders had begun to make plans to evacuate partsof the collection to safety soon after the museum opened. thus on january 1st, 1942,only weeks after pearl harbor, they were able to move some of the gallery's most preciousworks of art to safety in biltmore house in north carolina. with its collection safe,the museum turned its attention to making

its galleries welcoming to military men andwomen and war workers in the city and to other concerns brought on by war. so as you've heardfrom barb, beyond the gallery as well, during 1942 there was high and growing awarenessof the dangers posed by the war to the great monuments and cultural treasures of europe.two important groups of scholars, one centered at harvard and another organized by the americancouncil of learned societies in new york began to agitate for active american efforts tosave europe's cultural patrimony. they began to gather information on significant sitesand collections that should be protected, developing in time lists of hundreds of pages,but long lists are of little value if they're not put to use.

at this point the national gallery led byits first director, david finley, stepped in, serving as the center of the culturalcommunity's efforts to get washington to take action. finley himself was charming, persuasiveand self-deprecating, an effective combination. and the museum had the additional advantagethat the chief justice of the united states, harlan stone, was an activist chairman ofthe board of trustees and a great lover of art. david finley was able to persuade thechief justice to write president franklin d. roosevelt to propose a government commissionwhose sole concern would be protecting the landmarks and cultural materials threatenedby war. president roosevelt agreed and the result was the american commission for theprotection and salvage of artistic and historic

monuments in war areas, usually known as theroberts commission. a little background on the name of that, why it became the robertscommission was that the initial hope was that the chief justice would agree to serve asthe chairman to give the commission the gravitas that would be needed to make things happenin washington, but he declined and instead asked owen roberts to serve as the chairmanand roberts was the senior associate justice of the courts and that's why it became theroberts commission. the commission's offices were in the galleryand many of its staff were gallery employees. the physical location in washington provedto be important and with gallery's persuasive charm, the commission had access to officialsin the war and state departments and in the

end, a voice in gallery policy. when the commission held its first meetingin august 1943, only 13 monuments officers were in the field. over time, the commissionpersuaded the military to formalize and expand the monuments, fine art, and archives program,the mfaa, so that trained officers would be attached to the similar affairs sections ofallied armies to be close to the military action. the commission found and recommendedofficers to serve in the program. again, barb has some of the wonderful documents that suggesthow that happened behind the scenes. they had excellent information on officersalready serving in the military who are already part of the cultural and museum communitybecause paul sachs, who educated a generation

-- an entire generation of museum leadersheaded the commission's personnel committee. i think one of the reasons to think of thesuccess of this commission is that it was really what i think of as a big tent operationand not only did it bring together the interests of the cultural community but it added toit. so, for example, cardinal spellman was a member of the commission who was at thattime the catholic cardinal in new york because of the real concern about church buildingsthat the armies would encounter in europe. there are many, many examples of how theysucceeded in reaching out very broadly through the american community. the commission also effectively channeledthe extraordinary knowledge of american experts

and presented it within the military frameworkto reach units in the field. george stout mentions this, that among other activities,the commission prepared guides and handbooks to be used by troops in the field with informationneeded to give what they called first aid to cultural materials on the ground. thesepublications incorporated the expertise of conservators, scholars, archivists but theywere published and distributed by the war department. working with the scholarly community and coordinatingwith experts in other allied countries, the commission and monuments officers also helpedprepare reports of what came to be known as listed monuments, that is, places that shouldbe preserved wherever possible. in addition,

in time, using resources of the frick artreference library, almost 800 maps with overlays of cultural sites were prepared to providecomprehensive data on geography and monuments in embattled areas for air forces. these madepossible some of the pinpoint bombing that dramatically saved at least some culturallandmarks as the war proceeded. and throughout the commission cajoled government offices,it made ceaseless efforts to support the officers in the field. yet, of course, the real life achievementsof the monuments men were extraordinary and important on their own. military reports,personal papers and numerous personal memoirs provide a rich picture of their work in thesefew intense years. beginning with allied assaults

on italy and always few in number, the monumentsmen worked to save whatever was salvageable, protecting art and monuments from rain, vandalsand thieves with extraordinary energy and success. frederick hartt was among the small handfulof monuments officers who reached tuscany in italy while fighting continued. his paperslater were given to the gallery archives. outside florence, he found the badly damagedchurch of santa maria in impruneta and described it crawling over beams and rubble to findwhat might be salvageable amidst the stench of dead bodies. i should add that he alsohad a sense of humor and the bombing also fell on an ancient 16th century tomb, so addedto the misery of the current conditions there

were corpses from past centuries that he hadto work his way through. hartt worked with his italian colleagues toshore up the walls and save fragments of smashed sculptures and he and other monuments officersperformed similar miracles throughout italy. the monuments officers also worked with italiancolleagues to locate and return works of art moved by nazi armies. not long before retreatingfrom italy, nazi soldiers had transported paintings from museums in florence to a jailin northern italy. after the trove was discovered, hartt watched over the art until it couldbe transported back to florence by the first train to move over the repaired rail linesand then by truck into the city. the return of the art in florence was an extraordinaryevent and hartt later described the tumultuous

reception that a symbolic convoy was givenduring its slow procession through the ancient streets as they formally returned createdpaintings to the city. the monuments officers did everything possibleto conserve and consolidate damaged structures but the records also show that some thingswere beyond saving. in florence, the nazis blew up beautiful renaissance bridges acrossthe arno as they retreated from the city. the ponte vecchio was spared apparently becauseof its bulk, but ancient buildings surrounding it were destroyed, a reminder of the brutalityof war and the miracle that so much survived. on a happier note, though, soon after theallied armies arrived, working through the monuments officers, the government of florenceasked for measured drawings of the ponte santa

trinita which the roberts commission was ableto provide with the assistance of american scholars. the drawings helped salvage thestones from the river so that the beautiful span could eventually be rebuilt and frederickhartt, among others, was made a citizen of the city of florence when he left there atthe end of the war. moving forward as d-day, june 6th, 1944, approached,american and british monument staff built on the experience in italy to prepare forthe new assault. it was at this point that general dwight d.eisenhower issued his extraordinary statement that buoyed officer's work -- and again, walkerhancock, his comments on that was fascinating, barbara, thank you for playing that clip.

let me quote from general eisenhower's statement.it's amazing. he said, "shortly we will be fighting our way across the continent of europein battles designed to preserve our civilization. in the paths of our advance will be foundhistorical monuments and cultural centers which symbolize to the world all that we arefighting to preserve. it is the responsibility of every commander to protect and respectthese symbols whenever possible. " it's an extraordinary statement. again, a very small handful of monuments officersentered france with the allied armies. their first task was to document and protect damagedcathedrals and other important buildings that they discovered, a task made more difficultgiven the large areas that they needed to

cover and their limited resources and authority.jim rorimer was among the small group of officers and his photographs captured the desecrationand destruction that he found. among other tasks in france monuments officers locatedstatutes and church bells and other metal objects that had been taken during the germanoccupation to be melted down for armaments. the monuments officers did what they couldto return them to the original sources. the officers also had the task of protecting listedmonuments from careless troops. when rorimer arrived at the great abbey of mont saint-michel,he discovered that the three posted off limits signs were useless and reported finding armyvehicles roaring around the town with drunken soldiers at the wheel where no cars had beenpermitted before.

his army reports were models of outrage andurgency and in the end he succeeded in protecting the site. rorimer also worked for weeks withmilitary and local authorities to prevent the tuileries gardens in paris from beingused as an army truck depot. there are many, many stories like this as monuments officersfollowed the path of battle through europe all to be studied in the officers' officialreports, their personal papers, beautiful photographs. the monuments officers' experiences changed,though, as the armies and monuments men entered germany where they began to discover placeswhere the nazis had hidden movable art and antiquities, libraries and archives withingerman borders. the existence of these repositories

had long been suspected, but their scope provedto be astonishing. over time, more than a thousand storage sites were discovered, somesmall but others sheltering accumulations of great art, including extraordinary objectslooted by the nazis from occupied nations as well as works of arts from german museumshidden for safekeeping in the last days of the war. finding these hiding places and makingsure that the objects they held were physically safe provided some of the most dramatic momentsfor the monuments men. schloss neuschwanstein, which barb had a photoof, mad king ludwig's castle in bavaria, may have been the most extraordinary of the hidingplaces. the castle had been the headquarters of hitler's art looting organization, theerr, einsatzstab reichsleiter rosenberg. and

within its walls the monuments men discoveredvast troves of art stolen from french-jewish collections plus treasures from germany'sown national museums. edward adams, jim rorimer, edith standen, and others all were involvedin securing the castle and removing the works of art. charles parkhurst was there too asthe deputy chief of the mfaa section. his reports suggests the challenges of workingwith unrepentant nazis, locked rooms, and even a secret chamber whose entrance couldbe reached only via a built-in cabinet with hidden panels. it sounds romantic now butat the time it must have been very, very difficult. and, of course, despite everything, the monumentsofficers persevered. with limited support, transportation, supplies, and manpower, theyachieved the extraordinary feat of securing

the treasures and safely moving things tocollecting points that they established as places of security and refuge.the monuments officers, many with backgrounds in museum administration as you've heard,were supremely qualified to create these temporary repositories for the works of art that becametheir responsibility. the officers developed extensive surveys and inventories and createdmany photographs, such as those now at the national archives and galleries librariesimage collections. perhaps most important, though, the collectingpoints provided the organization and facilities that were needed as the monuments officersperformed their final herculean task or returning the precious art to owners working closelywith counterparts in other nations.

the roberts commission advised the state departmenton the principals that should govern restitution and it was these policies guided the workof the monuments officers. the return of the art marked the end of their responsibilitiesand after some more years of work, the collecting points did eventually close in the early 1950'sat various times before that also. in the meantime, most of the monuments officerswere eager to return home and to take up their careers, their letters, and their personalwishes are documented in their papers at the archives and i'm sure at the archives of americanart as well. that is one aspect of the movie that i think rang very true. they were quitehomesick and ready to return home. in the end it was the roberts commission inthe conclusion to its final report that i

think summed up their work very well. letme read the final paragraph from the final conclusion. "the successful activities ofthese few men is out of all proportion to their number and their position within themilitary machine. they were able to accomplish a task of great magnitude. the task was nothingless than to preserve as much as they could of man's creative past." we as archivistshave the honor and privilege of ensuring that this story and their experiences can be studiedand understood now and, of course, in the future.thank you very much. [applause] dr. greg bradsher:well, where do i begin? the records. at the national archives, we have probably upwardsof 3,000 boxes of monuments men records spread

amongst about 10 record groups. last weekmy colleague sylvia naylor -- can you raise your hand? -- we put together like the bestof and put it on our website sort of outlining what are the most useful monuments men recordsfor researchers? and we also prepared a little handout thatwe passed around today, sort of outlining where the records are and it's very simplified.i think i just used one example of the third army where robert posey was, but i could havementioned the first army where walker hancock was and so forth. we also did not includewhat was happening in italy, because that would be another piece of paper to do that,as well as the far east. but this has been a subject of interest primarilyfor the last 20 years. it started really with

art provenance research back in the late 1990s.actually it started in march 1996 when a young researcher came to college park looking forinformation on jewish deposits in swiss banks, it became a search for stolen gold, and thenwithin a year it was stolen art, next year it was unpaid insurance. and we called thisholocaust-era assets, grouped it all together. because of the massive amounts of materialsand things weren't digitized back in those days, i produced a 1,000-page finding aidthat sort of helps researchers navigate their way through our records. nancy yeide, whois also in the audience from the national gallery of art, and i were both bombardedon how do you -- what records do you have and how do you exploit them, the monumentsmen records? so nancy co-authored a book for

the american association of museums on artprovenance research explaining how you exploit the records. so it got to the point wherei would not talk to a researcher unless they read my finding aid and read her book firstbecause that would answer a lot of questions. the monuments men records are actually notonly used for provenance research but they are used for other purposes. for example,i think barbara and maygene alluded to cultural property in terms of property that was damaged,destroyed, repaired, oftentimes institutions are interested in what happened to their institutionduring world war ii in terms of, we noticed the stained glass windows were blown out.when were they replaced and who replaced them and did the monuments men help? so like thatone photograph of walker hancock and lamont

moore and george stout at marburg, there thestained glass windows from the church and from the university library, the library windowswere blown out by american bombs and the church put their stained glass windows for safety.well, the monuments men helped bring them back and helped reinstall new windows -- theold windows in the church and new windows in the university library. so there's thatpractical use in terms of what happened to an archival collection, what happened to alibrary collection. i would say for the last decade every other year i get a call fromthe italian embassy asking us about a certain library collection that the nazis had takenout of rome. every year i tell them, well, it was recovered. and it was sent to the offenbacharchival depot and one of your captains signed

for it. thank you and goodbye. and then twoyears later, did we ever get our books back? so the records serve a very useful purpose. what i thought i would do is tell you actuallytell you actually a story on how i used the records in one particular search. it was inmarch of 2009 that i got an email from an 82-year-old retired optometrist from chulavista, california, dr. bob thomas. and he sent me an email saying that he was 18 yearsold in april of 1945 with the 358th infantry regiment of the 90th infantry division, partof patton's third army and that he had received a concussion at the siegfried line and hewas not with his unit, but he was close by at division headquarters. and that one dayin early april an officer came by and said,

would you like to go on a little adventure?and he said yes. so they hopped in a two-person motorcycle with a side car and he got hisrifle to protect the officer. the officer's job was to go behind the advancing troopsand write a press release. so they took off from about 40 miles east of marburg, northeastof marburg, germany, and followed in the wake of the advancing troops. well, the advancingtroops of that division and that regiment on april 2nd captured two little german citiesof rheinbach and heimboldshausen. then the next day they captured two more little towns,philippsthal and vacha. and then they regrouped across the werra river and the next day capturedthe mine at merkers. did anybody see the movie, the monuments men?in the movie they captured the mine at merkers.

and the mine at merkers contained the remaininggerman gold. it had most of the major paintings from the berlin museums and it had all theremaining currency from the reichsbank and it also had the property taken from concentrationcamp victims, like wedding rings, eyeglasses, and gold fillings. in the movie they get things-- they find things in the wrong mine, but that's okay, because they still found stuffand it was in a mine. it might have been the wrong mine in the movie. but in any event,he said that that they took off on april 1st or april 2nd and they got to a little townand they got to a little town and went into a mine and he said -- in his email he said,i read your article, your 1999 article about merkers mine. and he says, "i know i wasn'tin that mine, but what mine was i in?" and

i thought, well, you know, why not? you know,why not go and try to find. it would be like a little fun adventure. and it is a traditioni've started with my colleague, sylvia. once or twice a month on a friday afternoon wego on these adventures to search for something in the news, something that we know peopleare going to be interested in. and i think it started about five years ago with dr. thomas,the retired optometrist. so i went to the army operational recordsand i found out where the 90th division headquarters was on april 1st and i sort of plotted thaton a map and i plotted merkers on a map and i said, okay, it's about 20 or 30 miles frompoint a to point b and i know i'm talking about four days in april. let's see if i canfind another mine. i know where merkers mine

is and i know where he started out. and istarted at merkers and started working back and in the records created by the monumentsmen trying to find another mine. i gave up and i said, there must be another way of doingthis. so i went to google satellite and that area and i start looking for a mine. and inoticed there was sort of an anomaly on the screen. it was a big white pile. i didn'tknow what that was. so i kept getting it smaller and smaller, and i got down there and i didn'tknow quite what it was. and it says philippsthal. so i did a wikipedia search on philippsthaland found out there was a potash mine there and today -- i checked even yesterday, itis still these big piles of potash. so i said, okay, so i went back to some records, in fact,this time intelligence records, and found

out that in that mine was captured recordsas well as german currency. i said, okay, it could be that mine. it was captured onapril 3rd. could he have reached that point by april 3rd? i figure, yeah, probably couldhave been that mine. and then i went to the records of the marburg collecting point sincethat was the closest collecting point and started looking at those records until i foundthat there was a mine at ransbach. and then i remembered george stout and robert posey,at merkers they found most of the german artwork there, but the germans had also put some atransbach. so when they got ready to evacuate merkers, they picked up first the paintingsat ransbach, took them back to merkers, then took all to frankfurt, initially.

so i now had another mine at ransbach. andso then i started doing a google search again and found a town nearby called heimboldshausen.i went back to google and typed in "heimboldshausen" and up came a photograph from actually theholocaust museum of a bunch of burnt books in a mine at heimboldshausen. and it accreditedit to national archives. i said, okay, how does heimboldshausen relate to ransbach? they'reabout a mile apart. so i went back to monuments men type records again, the records of themilitary government [inaudible] to the monuments officer that was in charge and realized thatthere was one mine that had an entrance at each town and then there was a tunnel, a saltmine, that connected the two. so then i said, okay, that's probably where he was. so i senthim an email. i said you're probably, based

on the chronology, you were probably at ransbach.do you have any other information that could help me? and he sent me a little packet ofstuff in the mail and there was a little hand drawn map of going into the little town wherethe mine was and the streets and also xerox copies of two 16th century books. and he said,by the way, when i was in mine, i picked these two books up. and one was german, one latinand they were 16th century law books. so i wrote him back and i said, "so you found somebooks in a mine?" i guess it must have been ransbach, the ones that didn't get burned.so i thought well this is intriguing. so i contacted the german embassy and got aholdof the cultural [inaudible] bertram von moltke, and i said, here are the names of two books.are they yours? he said, i'll contact the

german library association and ask anyoneif it's theirs. so then i went back and to make a long story short, i found that oncethe americans landed after d-day, the germans started evacuating the looted property andtheir own property to the south, mainly to bavaria but also to hesse and thuringia. andat the prussian state library in berlin sent 1.5 million books to this mine at ransbach.the dã¼sseldorf state library sent a half a million books, and the university of marburgsent a quarter of a million books. also the berlin state opera sent 200,000 costumes andsheet music and musical scores to the same mine. the germans found that salt mines weregood for preservation purposes. that's why you end up having all these salt mines.

well, i learned this from the marburg records,figuring that the contents of the mines would eventually go there. well as it turns outi read the reports from a few people, including walker hancock, that on april 25th, aboutthree weeks after the mine was discovered, a bunch of freed slave laborers who had beenworking various mines, whose clothes were tattered and many didn't have much clothing,they all -- some of them helped unload trains and take things into the mine, they knew therewere costumes in the mine. so hundreds if not thousands of former slave laborers wentdown in the mine and found new clothing from various operas. and i read one account wherethe townspeople saw all these people emerging from the mines, walking the streets in 17thand 18th century costumes. well, they were

smoking in the mine and it caught on fire.and when the americans finally went to check out the mine, it was smoldering, so they broughtin their conservation people who said, well, we really can't help you, but what you cando is stop the fire. so they ended up bricking both ends of the mine hoping the fire wouldburn itself out. and they said it will take probably six months. it actually took longer.it wasn't until the next spring of 1946 that they were able to retrieve the books, costumesand start returning them. the books from the prussian state library couldn't be returnedto berlin where they came from because that was now in the soviet sector of berlin. sothose 1.5 million books were loaned to the university of marburg where in the 1990s theywere finally sent back to berlin.

back to dr. thomas's two books, i had suggestedthat he return them and i told him that i would work with the german officials so hewouldn't be charged an overdue fine on the two books. he said, sure, that sounds good.i said we have some presidential libraries, record centers, regional branches, they cancome by and pick them up and get them to me. he said, no, i want to bring them to washingtonand give them back in person. so i called up my colleague at the embassy and told himwhat i had in mind and he said, "oh, the ambassador would love that." so i went through the chainof command here to the archivist and we set up an event in room 105 with the german ambassador,the acting archivist, dr. thomas, the two books and the books were returned. as it turnsout, the german library community found out

that the books had come from a public -- oneof them from a public library in bonn and another one came from a museum in a town calledpaderborn. and the washington post wrote a nice little story about it. the next day,showing dr. thomas holding his two books, and he brought it in a cardboard box and dumpedit on a table in front of the acting archivist and the german ambassador, sort of embarrassing.if i had known that, i would have gotten him a nice archives box or something. but it hada happy ending. so i hope this was a happy ending to yourafternoon with the monuments men. i guess, barbara, do you want to have questions? barbara aikens:i think john is going to come back up.

john legloahec:i know that's not for me, but great job by all three of them. let's see. any questions in the room? if youhave any questions, please feel free to come down to the microphones in the aisles. theredoes not appear to be any questions online at this time. there are six people who tunedin online to watch. do you have a question coming down? speaker:hi, i'm debra wynn. i work at the library of congress and i would like to say there'sfour institutions involved. we also have a few scattered artifacts because a lot of theconfiscated materials that the germans got

and also there was a library of congress missionto germany at the end of the war. and a lot of this stuff that ended up -- they didn'tknow what to do with, it ended up at the library of congress. but i was involved with catalogingthe third reich collection because the library ended up with hitler's private library ora portion thereof. and it kind of expanded because it turns out there was a lot of confiscatedgerman material and i got transferred to prints and photographs to work on things. i was initiallyin books. i know that there is other stuff throughout the library, but we do have rorimer'scopy of the kummel report that was basically the shopping list that was prepared for thenazis to go and target different institutions throughout europe and come back with pieces.so i'm just saying, there's wonderful things

out there, it's not just in your institutions,and we also have a nice photo album that belonged to pomrenz that identified book plates thatwere in books that were taken from jewish institutions or families throughout europe.and we have an index volume to some of these book plates. so i pinch myself when i go towork because these -- i'm a german specialist, so we're low on staff, so i kind of get transferredaround. and so just there's other institutions out there too. maygene daniels:both greg and i, we may have the same question. in what unit is the kummel report? speaker:the kummel report turned out -- a researcher

came in and it was in our general collections. maygene daniels:you mean it's cataloged as a book. speaker:it's cataloged as a book, it is a mimeographed type script. it's copy number one, but it'ssigned, has rorimer's signature and it was turned in to the state department and thestate department turned it in to us. dr. greg bradsher:that's interesting, because i don't know how many years ago i got a request from a researcherworking for robert edsel, asking about the kummel report. and i went to our state departmentname index and i tracked it down to correspondence between ardelia hall at the state departmentand rorimer and she was suggesting that he

give it to the u.s. government and there wascorrespondence back and forth saying he would agree to do that, and the trail just stoppedthere and i've always been curious as to -- so you're saying he did give it to the statedepartment? speaker:right. and you wouldn't know that it was called the kummel report. i wrote -- i looked itup at lunch. i looked up in the online catalog to get the full title and it's the [long germantitle] dr. greg bradsher:i'm sorry. could you repeat that? [chuckles] speaker:fine title. [german title] so stolen culture goods, 1941is the spine title translated.and finally, i cleaned up the record and i

have an alternative title, kummel report,so you can find it. but it was assigned a catalog record in 1968 and it was -- yeah,it was lost in our catalog for many, many years. dr. greg bradsher:the person to ask for it, i don't know if she was working with robert edsel at the time,but i remember very clearly because i have never heard of it before and it was interesting.the other thing, seymour pomrenze, who was the head of the offenbach depot, allowed alot of books to go to the library of congress mission. and, of course, that was criticizedin the presidential commission in 2000 for whatever reasons. and when i spoke to himlast, before he passed away, he asked me,

did he do the right thing. of course, i couldn'treally say. i just said, you did a good job. speaker:anyway, you look at what they had to work with and the amazing amount of work that theoffenbach archive did in the states of three years; they restituted over 4 million items,absolutely amazing. and a lot of the books that we ended up with had very skimpy provenancemarkings. there was the sheer amount of things, a lot of stuff got sent back. i went to aconference in berlin in 2007 where german libraries and archivists are working togetherbecause with the reunification of germany, a lot of the records got split and they'reback and there's a restitution project going on on behalf of the german government thatgerman libraries and archives are involved

in. and they've got a key of markings thatare in books that heretofore were unexplained, but then they've got this key to figure outwhere actually some of this stuff came from. so it's opening up a whole new area of researchand work for people. so i mean, this work will continue. and i figure as long as thestuff was saved, the stuff in collections, the united states has signed on to the restitutionfor holocaust era assets, the treaty that came out of that meeting in '98. so, yeah,keep asking questions, keep discovering things. thanks. maygene daniels:leading off of that a little bit is something that i think is worth thinking about, whythis whole effort in this venue on this occasion,

why the monuments, fine arts and archives,and particular role that archives had, and seymour pomrenze had in particular, he wasa known figure around the national archives when i worked here all those years ago. ofcourse, the thing that is really wonderful about it is to realize that broadly withinthe -- not only the cultural community but within the government, the double significanceof archives both because of the importance of cultural artifacts, you know, the ancientilluminated manuscripts, things like that, that were in europe were important, but alsothe recognition of the importance of government archives and the need to preserve, you know,town hall records and that kind of thing, and among the things that were moved to thehiding places were, in fact, the current operating

government records of germany. so to me anyway,as an archivist, it was really important and interesting to realize that dual importancewas really recognized, especially, you know, because so much attention is given to, youknow, the bruges madonna. well, there's also the intellectual property and just simplythe business of keeping a society going that was involved. dr. greg bradsher:just one quick note. in this building, in 1942, a professor at george washington, ernstposner, gave a lecture on the importance of archives in war time, especially governmentarchives, their usefulness, and after his lecture was done, fred shipman, who was thefirst director of the fdr library, wrote a

memo to the president saying that i heardthis lecture and i have to emphasize the importance of the italian archives, the governmentalarchives. so at the next cabinet meeting the president told each person, come up with somethingto protect european archives. and general marshall, the army chief of staff, sent amessage to eisenhower in north africa saying you've got to protect the archives. and eventuallysomeone got the idea, well, you can tell them but there's no archivist here. so they said,fred shipman, it was your idea... [chuckles] we'll send you off to italy and you can tellthe troops to protect the archives. and off he went. and when we had an event in thisroom on february 19th on the monuments men, fred shipman's daughter and granddaughterwere here for it. they had come down from

princeton. so i still have a special interestin the archivists. at time they felt like they were the third-class citizens comparedto the artists and the sculptors and the professors. so my friend sylvia and i have written 13blogs on different monuments men, and the next one next week is on yet another archivist.so we've done seymour and hillary jenkinson, the british archivist, and next tuesday willbe lester k. born. so we've tried to give the archivists a shout-outcompared to the george clooney's and the other people. maygene daniels:right, and ernst poster is another example of that. and another link between our twoinstitutions, kitty-corner across the street.

because ernst posner is the perfect exampleabout why the cultural community was so totally aware of what was happening in europe. thecultural community was highly educated, they spoke multiple languages, they traveled backand forth but they were also very, very influential refugees and ernst posner, who had such animportant role in the beginning of the archival profession and education, especially for archivistsin the united states, was one of those. and when i started the archives at the nationalgallery, one of the moments when i thought, oh, i'm home, was when i discovered that inthe files of the general counsel's office at the national gallery is a file about gettingernst posner refugee status, i don't know what it is, a green card. i don't know whatyou call it back then, but there was our ernst

posner in the national gallery. again, itwas a clear understanding of why -- what led to the monuments men. they didn't just dropout of heaven. there was this really very broad based cultural concern and it's onethat we really are the inheritors of. that's a pretty wonderful thing. barbara aikens:one thing that i found interesting that i didn't mention is that many of the monumentsmen maintained a relationship throughout their lives. this is sort of alluding to a smallcommunity. they wrote one another throughout the -- you know, up to the 1970s and they,you know, would talk about, you know, i'm going to be somewhere such and such time,you know, how is your wife doing? do you think

we could get together? there was one letteri saw where they were rose valland was coming to the united states and they were all excitedto catch up with her. so i found that interesting that they maintained this relationship. infact, here, the notion of shared collections, maygene and i started talking about this acouple years ago, i think, about these shared collections that we knew we have. and i thinkthat it's -- you know, we're talking about shared collections about one particular theme,but i'm sure that there are other shared collections that we have, where, you know, art collectorstell this part of the story, there's another part of the story and yet there's anotherpart of the story, and so while it's nice that we have the great little talk about it,i'm sure that there are other ways to cataloging

and online access that we can work to bringthose collections closer together. rorimer, by the way, rorimer's wife gave thepapers to us and the daughter gave the papers to the national gallery. so i think that'show they ended up split. speaker:actually, a two-part question then a personal observation if i might. i don't recall whichone of you mentioned the amount of gold that was discovered, but as a practical matter,what happened to the gold? was that stolen also or was that germany simply -- or thenazis simply hiding the gold? and then the second question is, in sort of -- you know,the process of returning personal art versus museum or collections, sort of public collections,if you will, did someone or is someone doing

a considerable amount of genealogical workand research, because i'm curious as to how art that was held by german jews or frenchor citizens or others, how at this point in time are you tracing that back with some degreeof certainty that the right family or the right heirs are, in fact, getting art that-- or other objects that rightfully belong to that family? dr. greg bradsher:two quick answers. the first thing that the germans did when they marched into a countrylike belgium or the netherlands. they didn't go for the art, they went for the gold. theytook the gold because countries with whom they dealt with, switzerland, spain, portugal,sweden, turkey, wouldn't take german marks

in payment for anything. they wanted eitherswiss francs or gold. so the germans in order to keep the war machine going, the first thingthey did was took the gold. that gold, a lot of that ended up in switzerland and 12 yearsago there was a whole big to-do about it, tons and tons of books written, nazi gold.the gold ended up, for the most part, going back to the countries from which it was stolen.except that ended up in switzerland. they only agreed in 1946 just to give a small portionback. in terms of the restitution, most of the material in american zone ended up atthe munich central collecting point. people or countries would make claims. they would-- the monuments men would investigate it and determine, yes, this probably belongsto this person or that museum. they then would

return it not to the museum or the person,they would return it to the country and let them have the final decision. that way theamericans wouldn't be responsible. it used to be very, very difficult to do provenanceresearch because you would have to go through those 2,000 boxes at the national archives.we've now digitized 2.3 million images and it's truly amazing. things that used to takeweeks, sorting out a particular piece of art, some small piece of art, you can now typeit into the web site fold three and all the documents just pop up and it shows you whenit was stolen, when it was recovered, who it was returned to. it wasn't an exact science.the monuments men did their best, but they did make mistakes. they did give things backto the wrong country. they gave -- we have

this case in germany now, the gerlich case,where they let an individual reclaim his art where probably some of it was stolen. but,again, you can search in our records under the wiesbaden collecting point and find outthe name of the painting that this individual had, all the information about it. in thiscase we gave it back to the person that claimed it was theirs and that may or may not be thecase based on the current lawsuits. john legloahec:thank you very much. if there's no one else asking a question, i can make a quick personalobservation. i was in the air force three weeks out ofhigh school and i spent most of that over in england with some travels in europe, butnever to germany. but i got out of the service

and i went to a place called paul smith'scollege of arts and science way up in the northern adirondack mountains. and sort ofstrange for forestry majors, we took world history in our first year. this was just anassociate's degree program, but it is a wonderful diverse program. and my history professorwas a guy named doc mckee, and we had a very big thick world history book and doc mckeehad been a staff assistant at the trials at nuremberg, which was quite interesting becausehe described the demeanor of the nazis and what have you. but as a young man, and therewere mostly men in this school, we got all excited when doc mckee told us about it. youcan correct the title of whatever this was, but augustus the strong of saxony, and hesaid he fathered 365 children, which we were

all impressed by. how many women, i don'tknow. but i would tell that story once in a while and i carpooled from falls churchto alexandria and different places for 17 years with a german friend of mine, and oncein a while when things were quiet or slow i would tell him this story. i was tellingthis story in our office elevator down in alexandria one day and it happened that thegerman luftwaffe washington office was up in the floor or two above us. and i was tellingthis story to my friend and augustus the strong had fathered 365 children, and a very heavydramatic accent in the back of the elevator said 385. and the same voice he said, thehistory books are generally wrong at that point. a personal story. thank you all fora wonderful presentation.

speaker:thank you very much. let's hear it again for our panel. [applause] so we will come back at 2:45, as you can seethere on the screen, for the next panel presentation. so please feel free to make your way backout through the hallway and visit with our exhibitors and we'll see you back here in20 minutes. thank you very much. [break taken] john legloahec:well welcome back, everyone, to our next panel presentation which will feature two individualsdoing great work here at the national archives.

full disclosure, they're both friends of mine,but i would have said that anyway. i'm still john legloahec, the chair of marac. and injust a moment we're going to hear from both jerry simmons and john martinez. both jerryand john work in the office of innovation here at the national archives, where jerryserves as nara authority cataloging team lead and john is the director of the business architecturestandards, and authorities division. first off, john will bring us up to date on thearchival authorities cooperative project, followed by jerry, who will speak to the encodedarchival context, corporate bodies, persons and families, also known as eac-cpf -- i wouldthink that that's a much easier way to say that -- standard that is being used for theseauthorities. as with the previous sessions,

if you are joining the presentation virtually,we encourage you to send in your questions through the chat function. and please sendit along, and we will have some time for q&a at the end of their presentations. pleasejoin me in welcoming both jerry and john. john martinez:thank you. as john said, i'm going to give an overview of -- so the progress of the workon the archival authorities cooperative, focusing on nara's involvement in it, and then thefun stuff, the interesting stuff from jerry, where he's going to talk about eac-cpf andgive some examples of what we've been experimenting with with nara authority data. so like i said, i'm going to talk about thecooperative, the planning activities and progress

to date, how we're looking at the cooperativeadministration and governance of the cooperative, the technological infrastructure and sortof the next steps, broad time line. like i said, i'll try and go quickly, as we're ina shorter time slot here. so the goal of the project, of the authoritiescooperative, is to transform an existing project that's been around a few years, the socialnetworks and archival context, snac project, into a cooperative program. snac is a projectthat's been led by the institute for advanced technology and the humanities at the universityof virginia, managed by daniel pitti there. and the goal of snac, and by extension whatthey're trying to realize with snac, is to build and maintain a large database of authorityrecords describing corporate bodies, persons,

and families. so these are the record creatorsand other entities documented in records. linked to description of records to achievesort of union access and linked to one another to identify and pull out the inherent social,professional, intellectual networks. the vision is to be cooperatively maintained by the professionalcommunity, which is broadly defined as archivists, librarians, scholars, documentary editors,historians, etc. hopefully or ideally with an aspect of crowdsourcing as well. the snacproject has done a lot of prototyping and experimentation so far, and they've sort ofdeveloped a prototype already for the technical realization of this. so why? why is this being done? what's thevalue? i'm going to show some statements by

some of the key people involved in the projectwho are on the advisory board. i don't want to flash through them too quickly, but i alsodon't want to read these at you either. so this one is from anne van camp of the smithsonian.she speaks and i think you'll see this is a common theme that these individuals identifyas value. she speaks to the possibility to aggregate data across repositories and theresulting benefits to researchers and the benefits of the common authority file forarchivists. similarly, ed ayers from the university ofrichmond sees the possibilities and has very high minded statement of dramatically affectingthe way that historical research is undertaken and written.

and then alan liu from uc santa barbara alsospeaks to the power of aggregation and linking of authority and a deeper knowledge that canbe derived about people and organizations in archival holdings. so planning to date. the work on the snacreally started in may 2012, when 87 archivists, librarians, scholars, and representativesof the funding agencies at that time met here at this building. we had a second meetingagain in 2012, in october, with a smaller group, 27 archivists, librarians, again thefunders at that time. while these meetings were intended to be partly explaining andpart brainstorming, each was almost entirely the former, not the latter, which was okay.in other words, there was lots of discussion

of what we want to do and why we're doingit as opposed to getting into a blueprint of how to. and the strategy for moving forwardemerged. in early 2013, in january, a group of thesnac leadership came with daniel pitti to nara, met with the executive leadership here,and as a result of that meeting the archivist endorsed nara to be the host for the cooperative.and by the host, the host in terms of administration and governance. technical is another issuewhich i'll talk about as well. the technology infrastructure to be developed outside ofcollaboration with nara. and the negotiations for host are still underway. at this pointit's still not 100 percent, but california digital library has shown great interest andwe're working towards having them serve as

the technical host for the cooperative. in 2013 there were two more meetings, onehere in june on administration and governance. there were two later in the year at the coalitionfor networked information focusing on the technical infrastructure. as you can see,july and october. no nara representatives were able to go to that one because of theshutdown. but a few decisions were made or a few decisions in terms of direction weremade, that the scope initially will be national u.s., and focus on archival authority data.longer term, the idea is to be potentially international and expand to include archivaldescription and access more broadly. and the idea is to begin with a pilot phase of twoto four years, use that pilot to build trust,

to build a community, the infrastructure,and really flesh out the long term business and governance model. and one concept thatdidn't necessarily start there, it's sort of the overarching one, that the data thatis part of this cooperative will be freely available as a public good. so administration governance, as i said, we'vebeen working to determine nara's role after the archivists committed nara as taking alead in this area. we've been looking at models like the cooperative cataloging program forthe library of congress. we talked to paul frank, who's been very helpful. in developingthese policies, we recognize the need to ensure community involvement and approval. we alsoneed to be sure we tie it to nara's mission

appropriately and there's larger issues likeestablishing the cooperative as a legal entity, questions around the best way to do that.and then these are sort of the issues in developing administration and governance that we're lookingat, which are i think pretty typical for this kind of endeavor or partnership, legal issues,membership, who can be members, how will that work, what will responsibilities be, the standards,reporting, what kind of reporting the cooperative members will want, data ownership and training. and then, as i said, there's the whole issueof the relationship of the administrative and governance side to the technical side.the vision broadly is, as i said, the cooperative and nara is the host and administrator anda technical home hosted outside of nara, but

developed in collaboration with and guidancefrom the cooperative. and in terms of the structure for the administrativebody that would be involved in this, this is notional, obviously. there is no governanceboard. there is no advisory board yet. but we're thinking it might look something likethis in terms of a governance board with a snac advisor committee, sort of the key members,in this case presumably the california digital library, uva, nara, library of congress, smithsonian,representatives from the academic side. also, we have the potential for public or independentmember, an advisory board to provide advice and further define the role of the cooperative. and the key characteristics in looking forpeople to fill or institution, it's really

people, to sort of serve and work on theseadministrative and governance bodies would be people with passion for the effort, peoplewho are invested in it, passion for solving problems, and who are looking for progresson similar topics or issues. and as well, however it ends up, members willbe you know, will have to have an interest in community building, building relationships,developing constituencies, getting support from users and again, traditional researchersand scholars as well as nonacademic, the genealogical side and the public. so the technical infrastructure, i'll speakvery briefly about this, is, again, notionally, there would be a repository with a maintenanceand editing interface, as well as a public

interface to support the idea of having crowdsourcecontributions as well. and that it would again be developed by community partners in collaborationwith nara. this is sort of a notional, very notional,concept of how it might work. as you can see, one side is the professional side on the maintenance-- with the maintenance system, where at the top it's representing sort of systemic inputof bulk data or from platforms such as archived space. and on the bottom shows the editorinterface where individuals create and edit or do other manual entry into the system,and then the publishing system again, notionally, would support crowdsourcing contributionsand output of data as well. so the next steps. i ask that you uva hasa proposal to the mellon foundation for the

next phase, which is the final stage of beingapproved. the time line is from now, from april, 2014, to the end of the year to preparea charter document for nara, to prepare a data ownership document, deal with issueslike the rights for extracted data from contributor, to do user requirement studies for the maintenanceof public interface, and to further develop the technological requirements, the hardwareand software that will be needed, as well as to work up the partner agreements. as isaid, the meeting starts this month. i hope that when we do this update at saa this august,which i hope people will be at as well, we'll have a lot more to tell you. we should bewell along on developing a lot of this at that point.

so now jerry is going to speak some more aboutthe core standard, the eac cpf for the project, and give us an example of what he's done withnara authority data so far. jerry simmons:thank you, john. good afternoon, everyone. thanks again tojohn legloahec for the great introduction earlier. i will go ahead and make two remarksfor a start. first, i'll answer everyone's first question. no, it is not a clip on. [laughter]second i know, a good 45 minutes in front of the mirror before you leave the house.second, i reserve the right as all times to go off script. slides are wonderful to remindme of what i should be talking about, but i oftentimes get excited about stuff and wantto talk about other things. related, but not

-- so here's a very quick snapshot of the historyof authority work, authority's cataloging. if no one has ever heard of authority's cataloging,lean to the person next to you and say have you heard of it? because i'm going to go throughit really quickly, basically the control of names. it's also the control of subjects andup until 2000 it wasn't being done at the national archives. and when the new archivalresearch catalog came on the scene in about technically about spring of 2001-summer of2001, we started to attempt this for the first time. we started working on two authorityfiles and three thesauri that were built into the system, not the external system but theywere all built inside the cataloging database.

the two authority files which i'll talk aboutmost today or make reference to are authority files 1, 4, the names of federal agencies,merely known as corporate headings. here at nara they're referred to as organization headings.and then the second is the authority file for names of people. we've done a couple of focused biography projectsover the years, one wrapped up in 2003, for biographies to add in information to the authorityrecords that already existed for presidents and first ladies. there was another one thatlaunched later on for military figures, biographies. that happened in july of 2006. in april of 2003 we started cataloging forthe entire agency. this is from anchorage

to boston to atlanta to fort worth and allthe presidential libraries included. all the authorities cataloging was happening in onecentral location in college park. we started our naco contributions in october of 2003.naco is the name authority cooperative run through the library of congress, where wetake all of our authority data and we contribute it into a larger system for use by a widercataloging public. we also started in april, 2004 saco contributions.saco is the subject authority cooperative, where we actively and still do it today contributessubjects and geographic headings to library of congress authority files. in 2011, we started to think about the developmentof a new xml based cataloging system, one

that would handle descriptions and authoritycataloging equally. that system is hopefully soon, within the next few weeks, going tobe rolled out and deployed. this will allow us to export our authority records as xmlswhich is something we've never been able to do before. we've done several subject heading conversionprojects. for instance, for the first eight or so years of the cataloging effort at thenational archives we were using the getty standard for geographic headings. we recentlydid a conversion to change all those over to library of congress headings because they'remuch easier to control and it's an easier standard to follow.

this summer we're looking for and anticipatingcontribution to snac. john has mentioned snac already, the archival authority cooperative.hopefully in may, that's the target date, we are hoping to contribute our entire authorityfiles, both of people names and corporate organization headings, to the snac project.so all of our one effort will turn our arc authority records into eac cpf records andi'm very excited about that. saves me a lot of work. in the context of rda, eac cpf, snac and id.locwe have to take a close look at what has happened recently in the cataloging field. there wasa switch over for those of you who know about the specifics of the cataloging standards.the anglo-american cataloging rules 2nd edition

went away and rda, resource description andaccess, appeared on the scene. now all cataloging has to be done in this format, especiallyfor the authority records that we contribute on a weekly basis to the library of congress.we have to do them in the rda constant standard now. once they go into the system as rda records,we participate through the naco program and that's the gateway into the library of congressname authority file. after i do the contributions one afternoon, by the next morning our namesfrom the national archives are already in the overnight revision of the authority file.by virtue of being in the lc name file, our names eventually end up in the viaf, or thevirtual international authority file. because

they're in the library of congress name authorityfile, they're also accessible by the id.loc.gov, this is the library of congress rather youlink open data service for sharing their vocabularies in common formats. so eventually when we areable to pull in and push out from our system, we'll be able to get linked open data betweenthe national archives and the library of congress authority files rather easily.and finally, with the authorities and eac cpf linking and sharing options appear tobe endless. so here are a few examples. so that is the academic administrative portionof it. here is the fun part. and again, i went off script, so i have to catch up. okay. let's start with the really cool exampleof how nara's authority data might be linked

to external web sources and how holdings ofnara might be linked to amplify context. here we have in the upper left a world war ii postercreated and signed by alfredo plastino. through research we find that alfredo plastino isthe same superman illustrator, al plastino. he illustrated superman for something around30, 40 years. he unfortunately died just last fall. but luckily his family still maintainsthe website that features all of his artwork. so explore the eac-cpf linking within nara'sdescription system will help resolve issues of variant names used by records creatorsthrough their career because the poster that the national archives has is signed alfredoplastino, but the library of congress considers his authorized controlled subject name headingto be al plastino or plastino, al with no

dates. i don't like it when names don't havedates. i've got to have more context. as an archives authorities cataloger, i've got tohave more content than that. so in fact, eac-cpf allows us to declare a preferred name fora person or group or declare that all forms of the name are authorized. in traditionalauthority control you have one preferred heading and then all other variant headings for aperson are considered non-preferred in traditional authority systems. but with eac cpf you candeclare that all this person's name forms are completely fine to use and they becomevery searchable and linkable. the slide here shows they just did an exhibitor there is one item on exhibit at the kennedy library that features the cover of the supermancomic that was drawn within weeks of jfk's

assassination and after all of that passed,they decided that whatever image he drew for president kennedy should be in some kind ofspirit figure. so that's how that comic book cover evolved. okay. let's talk about linking names to names.leland judd barrows and mabel barrows, husband and wife. he was the american ambassador tocameroon and togo. he was also a newspaper reported and a broadcaster. his wife, mabelirene conley barrows, is featured in the photograph here which we have in the harry s. trumanlibrary. we can use eac cpf authority format to link these two people together. if youfind one person in the authority file, you can quickly link to the other person, frommr. barrows to mrs. barrows as easy as that.

plus you can also link out to external sourcesusing hyperlinks and adding that information to the eac cpf record to cite a source andyou can add in sources like findagrave.com and there's the photograph of her gravestone.so when you see her eac-cpf record you can quickly go to her memorial and find a grave. here's a really good one. okay. so we talkedabout people to people. here's people to people to people to corporate agency. ralph james"bottles" capone and george q.e. johnson and the department of justice. this is al capone'solder brother. and he was brought in for i think as a witness or perhaps even suspectedof being a cooperative person in tax evasion, like al capone was. so using eac cpf, thename data in this format, we can add in relationship

context for his brother, the famous the morefamous capone. for the attorney, george e.q. johnson, who was the prosecutor, and to thecorporate entity, the department of justice, office of the u.s. attorney for northern judicialdistrict of illinois. those are long headings. and then you can link out for sources as well,the library of congress name file, the viaf, wikipedia, which is becoming a very popularsource for authority data these days and findagrave. and my off script story about mr. capone,"bottles" anybody know why he's called bottles? no. he didn't have big glasses. i don't knowif he had glasses. that's not it, though. he did not butcher people with broken bottles,that's not how he got his gangster name. he actually ran a legitimate, legal bottled waterbusiness in chicago, illinois, and they called

him "bottles capone." there you go. you heardit here. okay. so more about linking to the personthrough a corporate heading. this is something that has been going on actually at the nationalarchives for a long time. i always sort of like to give ourselves a pat on the back forthis, that as early as 2002, when you see what here is an authority record from ourarc system, the production system, it's not what you see on the web. it provides us amechanism for linking a person name to a federal agency name within one authority record, becausethe name johnson, george e.q., and his full heading is right along, george emerson quincy.he was, of course, a federal employee and he worked for the department of justice. andwe can make this contextual link already inside

our system. so linking is not entirely newto the national archives. more really good stuff. and i will borrowfrom some of the things that barb aiken said earlier about collections. even though we'regeographically very close, national gallery, archives of american art is right up the streetand archives is here, it's very interesting. just has become a fascination for me to seehow this type of standard description of creators of archival materials can help us put in thepuzzle pieces of where their materials might be, not only in this city, but around thecountry and around the world. so here we have an example of an oil paintingthat's actually at the national archives by lee winslow court. there is the title of it.he was hired to go on an antarctic expedition

in the late '60s and he was aboard the chileanvessel the achilles and he created about eight oil studies. he was working in oil, but hewas only making studies. he took these back to his studio and made larger oil paintingsof these. so you think, well, it's weird. why do we have oil paintings at the nationalarchives? we do because they're related to other things and you don't take them apart,you don't destroy the provenance, you just move ahead. where else can we learn more aboutlee winslow court? at the archives of american art. the clouds part. the archives of americanart has an oral history interview with lee winslow court. it's beautifully catalogedon their website and very helpful in my cataloging of this gentleman's name. except that i sawall of a sudden rockport, massachusetts. hey,

there's a place in eac cpf where you can linkin or you can put in contextual information about a person's geographical context, wherethey were born, where they lived, where they worked, where they died, where they're buried.all that stuff can go in there. rockport, massachusetts sort set off an alarm for me.rockport, massachusetts is heavily featured in another recently popular national archivescollection of documerica photographs in the early 1970's in the epa. deborah parks wasthe photographer. she lived part time in d.c., part time in rockport, massachusetts. herassignment was to take pictures of rockport, massachusetts. here are just a few of herphotographs. but again, geographic context. we have power to link things geographicallyin context now. the change in rda, the resource

description and access, has made changes tothe way we create marked authority records to give it a little bit more context but nothinglike i think what is going to happen here. another example of one photographer, flipschulke, who was a professor of photojournalism at the university of missouri columbia. hehas a number of students who he thought were really good ace photographers. he took themon a field trip and they all became photographers for documerica. these students we can alllink together with flip schulke by new ulm, minnesota which is where they went on theirfield trip by the corporate record for documerica and it just seems to be endless. there wereabout 100 photographers for documerica, so this is just a ripple effect that will justgo out and out and out. and most of those

photographers had already worked for big namepublications like national geographic. some are still even active today. again, the possibilitiesare endless. one of my favorites. we happen to have artifactsat the national archives, it is not entirely uncommon. excuse me while i catch up. andsince the '70s i've been told the national archives has been acquiring artifacts, textileitems and other objects from the american red cross over the years. recently i was askedto create a name for camilla louise wills. she was an army nurse. we have her coat fromwhen she was in the army, world war i. i have to always so well it's very interesting tolook at an empty coat on mannequin leaves me with sort of a vacant feeling like whatis the story behind this object. it is just

my natural instinct as a researcher and acataloger to sort of find out. so i thought, is there more to this woman's story? and yes,yes, there is. you take a trip on google, you will find the camilla louise wills' collectionbeautifully described and displayed at the university of virginia school of nursing intheir special collections department and her entire because she graduated from there. i'msorry. she graduated from there just before she left to go to europe for world war i.and they have her entire collection. and so from here i was able to pull a lot of herbiographical information, which by the way, traditional archival authority records upuntil recently had been limited to rather short biographies, but with eac cpf you'reallowed for very expansive biographies. that's

something i'm looking forward to. and i thoughti wonder what's in this collection. there was no item list on the website. it was justthis page and a little bit of information around it. so i called. i said, would youhappen to have photographs in this collection? they said, yes, it does have photographs.i said would you happen to have a picture of her wearing a black coat? and sure enough.so an object at the national archives, her story is told her, but she has a larger formof her story at the university of virginia. using this new standard we can go from nationalarchives to the university of virginia and we can send people who have somehow stumbledon this unusual black coat at the national archives all the way to a photograph of herwearing this coat circa 1917, perhaps.

and parting thoughts. my big motto used tobe as an archives cataloger, catalog it and they will come. i had it i typed it out andput it on my office door when i worked at the holocaust museum. i still hold on to thatone. but my new one is keep calm and contextualize everything. thank you very much. [applause] john legloahec:excellent. thank you both very much. i know we're running a little bit long, but we'regoing to be fine. are there any questions in the room for either jerry or john? justtake a quick check and see if we have anything online. we do not. all right. so i think whatwe will do is we will thank our great presenters here and we can move on to our next presentationif we are ready to go. thank you very much.

we will transition from the jerry and johnshow to the dawn and meg show, so they can make their way up here to the stage. who'sgoing first? or you're on one slide one power point? [off mic comments] john legloahec:all right. i think we've worked out our logistics for our final presentation of the 2014 archivesfair. it's me again, john legloahec, and i'm really looking forward to our final presenters.dawn and meg approached me about this idea several months ago and i encouraged both ofthem to move forward on this great concept. and as we've been doing all day, if you havea question, please send it through the chat

room. we'd really love to hear your questions,those of you out in the field. but dawn sherman and meghan ryan guthorn work in the textualaccessioning unit at the national archives in college park. dawn holds a b.a. and anm.a. in history from florida atlantic university, she received an mlis with a concentrationin archives from the university of maryland. meghan earned her undergraduate degree inhistory and english from boston college and holds both an ma in history and an mlis witha concentration in archives from the university of maryland. please join me in welcoming bothdawn and meghan. thank you very much. [applause] dawn sherman fells:hi. and thank you for joining us this afternoon and staying through all of the other fantasticpresentations. we appreciate you coming to

ours. we're going to kind of shake thingsup a little bit this afternoon to make sure you're awake. we're doing it in tandem. we'regoing to do our best. i'm dawn sherman-fells and this is meghan ryan guthorn so we're goingto stand up here and do this together. we hope that this presentation will be as goodas the others. we have a brief disclaimer. while we are professional archivists who happento work at the national archives, we do not represent any initiative on behalf of thenational archives. meghan ryan guthorn:it is our ideas that we are pitching based on our experience at the national archivesbut not as representatives thereof. dawn sherman fells:exactly. so while we are professional archivists

we are amateur presenters. so we're goingto do the best that we can here. you can think of us as the original dynamic duo. you knowwho i'm talking about. elizabeth katie stanton and susan b. anthony. okay. all in agreement?any objections? meg does have another one. meghan ryan guthorn:we could go with starsky and hutch, pinky and the brain, or to be more current we couldalso go with captain america and black widow. you can choose who's who. because what we'rereally going for here is a trailer or a preview of a greater presentation to come in maracin rochester. so hopefully we'll get enough of you interested today that you'll show upat our session in rochester. we're presenting on friday mid-morning. it will be awesome.

dawn sherman fells:i'm good with faces, so i will look for all of you. meghan ryan guthorn:double attendance gets bonus points. we'll come up with a prize. dawn sherman fells:so at this point i'm going to let meg kind of start off with the concept and talk aboutthe genesis of our idea and how our idea differs from current resources that are availableto folks. and then i will speak in a couple more minutes. we've also decided if we needto kick each other or jump in, that's okay. meghan ryan guthorn:if one of us suddenly cuts off it is because

the other person stomped them with their heel.roll with it. the donated records partnership project isreally an idea. what you're hearing today is our elevator pitch if the elevator gotstuck between the third and fourth floors and help wasn't coming for 15 minutes. we'rereally coming at you with more of a concept than our product. we're hoping that firstwe're correct in identifying a need in the field and second that our powerpoint doesn'tdie. and third, that there will be enough interest that we can actually develop a productto meet the need that we think we've identified. so i have been working as the point of contactfor donated collections of privately held records or collections at national archivesin college park for about two years now. i

started in that role when i was just out ofgrad school. i came in to take on this in addition to the other work i was doing. andi spoke with the woman who had been handling it prior to me and asked her what am i supposedto do, basically. and she explained nara has simultaneously a very broad and very narrowcollecting policy. and one of my major responsibilities in handling records relating to private individuals'records and private custody would be saying no and saying no in the best possible way,because it's a big customer service function. even if the national archives is not the besthome for a collection of records, that doesn't mean that they're not historically valuableor that they shouldn't be preserved. and the thing that we would be working on was creatingtimely, customized responses to propose donations

that aren't a good fit for the national archivesin which i would need to recommend an alternative repository for the record so that the donorwould leave with having had a positive customer service experience even as we were turningthem away. so okay. i can do that. timely. i am verygood with timely. i do timely like no man's business. where do i find these other repositories?she looked at me and said google. you google and then you cold call people. because coldcalling people is high on my list of favorite things to do, i said there's got to be likea website somewhere. no. no. you google. and then once you find something, you call them.because just because an institution has a large collection of world war ii era privatepapers doesn't mean they want any more or

that even if they want more they may not havethe resources available to maintain them or that the phone number or email address listedon their website is current. it's almost as bad to send a donor away with bad informationas it is to send a donor away with no information. so you cold call. you make sure that a repositorywould be interested if the donor does approach them. you make sure that the phone numberis good, you make sure that the phone number reaches an actual person and not a voicemail.because a lot of the contact information listed on public facing websites is geared at researchersand could be a common email address or a switchboard. so okay. i can do this. she goes you'll knowpeople. you'll call people you know and they'll put you in touch with people they know. igo i graduated from grad school about a month

ago. i know absolutely no one. i can workon that. so google. did a lot of googling. and sometimes i got frustrated with my googling.i complained to dawn in the break room because that's how i solve all my problems. and overtime we came up with the idea that if there was a lack in the field, a lack of a resourcethat allowed me to provide both a timely and a custom response to donors, because doingthe research to identify an alternate repository is time consuming and i, like everybody elsein this field, wear many hats and perform many different things and sometimes you can'tdrop everything to fill a need. so maybe there should be some kind of centralized internalto the profession database, web tool where professionals could post information thatmight not necessarily be the kind of thing

that they want publicly available or easilyidentified by researchers. yes, we have a large world war ii collection, but we reallydon't have the resources for any more. but if you find anything on the berlin air lift,we're doing an exhibit next year and we'd be really interested in a loan. or we've historicallycollected only the records of individuals who attended our institution, but we're lookingto branch out in light of this new science wing. so if you have anything from a scientist,we'd be interested. so that was the initial concept. a web based tool that was passwordprotected or otherwise internal to the profession to be used by cultural heritage professionalsto find or place collections. we thought of it from having several different goals. theidea of growing a collection, but not just

growing the collection, maintaining the focuson the mission and sticking to a collection policy, which can be particularly difficultif you are working in an academic environment or in another environment where there areexternal pressures to take collections of individuals who have other interests in yourrepository or your institution, but the collections themselves don't necessarily line up withyour donation policy. i once worked in a repository who had a primary focus on collecting religiousrecords and accepted a lovely donation of historic comic books because the donor wasaffiliated with someone who knew someone and it would have been impolitic to say no. butyou do want to cultivate those donor relations even if you are saying no because comic booksare great, but you just don't have the resources

to give them the preservation they need. youwant to be able to say, but my friend here, or but this contact who's name and numberi verified, they might want it. and we can point you in their direction. and maybe whenyou are ready to donate those records relating to your education, you could come back tous. and that requires a kind of professional collaboration, working together to make surethat donated collections, that records in private hands are properly placed with aninstitution that's best served to provide access and preservation and maintenance ofthe records. so how is this different from the tools thatare out there from archivesgrid, from the saa listserv of primary source repository,from anything else, the new york consortium,

anything else that's out there to try andconnect researchers with archives or with collections? and fundamentally, it's becausethey're out there to collect researchers with archives and collections. archivesgrid isawesome. it is all kinds of cool. i was on there the other day. but i've never been ableto effectively use it to identify an active area of collecting interest. it is reallygreat for finding institutions that are local if you're looking to place a collection withina certain geographic area or if you're looking to identify an institution that has historicallycollected in a field. but it doesn't maintain information that says, you know, if you tellme today about your inventor records, i couldn't take it. we did a couple years ago, but notanymore. and i've had experiences where i've

called four other institutions trying to placea collection and they've already been contacted by the donor and said no. so that's the kindof experience you want to try and avoid from a customer service perspective. you want itone and done as best you can. saa and other listserv information is great but frequentlyoutdated and also frequently takes you to the home page of the institution, where youthen have to do further digging. and who should be involved in this kind ofproject? everybody. it's kind of a common thing. we get at the national archives we'llget offers of donations of artifacts that we are not well suited to maintain. librarianscan be -- people with special collections could also have the similar problems, museumprofessionals, stewards of culture and history

regardless of who they are, people who workfor historical sites or other or corporate archives. we all face common challenges ofwhat to do with donation offers that don't meet the institutional mission or fill ourdonations policy. and how to say no, how to break the news to the donor while making theoffer while still leaving the donor with a great customer service experience and ultimatelyfulfilling the end goal of properly placing a collection in an institution that can bestserve to provide maintenance, and preservation and access. how to grow collections that aremission focused in this increasingly tight economic environment. so i said "placement" a couple of times now.so i should probably define that. determining

placement, when i say that, i mean that historicallysignificant records in private hands should be preserved and accessed from the most appropriateinstitution. and there are a lot of different things that i would think would play intothat, what the collection focuses on, how big it is, how big the institution is andwhat resources are available to handle a collection of any specific size, what kinds of recordsor artifacts are in that collection and what kind of maintenance and preservation and accessconcerns they raise. so really wouldn't it be great if a resource existed to help identifyinstitutions that are actively collecting or at least open to new donations? a resourceexisted that captured elements of placement criteria that perhaps aren't what's best suitedto be on your public researcher facing website,

something that's kind of internal to the professionand would make it really easy to do a prompt response to a donor, to provide great customerservice, and be able to redirect them so they don't call four different institutions whoeach say no, call my friend. we to want say here's the institution or here is three optionsand here are the contacts of the individuals you need to talk to and they're all interested.i mean, really what we could say is don't reject, redirect! dawn sherman fells:we've been waiting all day to say that. so don't reject. redirect. we hope you find thatslogan nifty. and also, andrew, there should be buttons. okay. big ones. big buttons. hemakes buttons for marac and they're really

cool. so basically don't reject, redirect.it's like if you're going into a retail shop and you're looking for really awesome shoes,like melissa who presented this morning had really awesome shoes. and i want to know whereshe got them. you found these shoes online. you go into the store because you need totry them on. because if you're like me i could be a 5.5 or 6 or a 6.5. crazy. you go in withyour heart set. these shoes are going to rock my outfit. and you get there and they don'thave your size. they don't fit. you're crushed. you don't want to have to go to the next townor two towns over to like see if they have the shoes. so the salesperson says, hey, letme call around. let me see what i can find. and she finds the shoes for you. and they'regoing to be sent to your house with free shipping.

i mean, really? so that's kind of what we'regoing after, is we can't help you at this site, but let us help you find the right direction.let us help you find placement for the valuable records that you have. so that's kind of what'sbehind our "don't reject, redirect" slogan. and now i'm talking and working. meghan ryan guthorn:i don't do the pointer. dawn sherman fells:she can't multitask. proposal. basically what we're talking about is our idea. we want tocollaborate with other collecting institutions and professional organizations. we need toleverage the expertise and resources in the profession. meg and i know our technical limitations.she is much more talented than i am. i know

nothing about techie stuff at all. i haveher and my husband and they take care of the things that i need to have done. but that'swhere we kind of need the professional organization. we're hoping one of our professional organizations,such as marac or saa or someone would think this is a really good idea and kind of wantto take the administrative reins of this to kind of like really start to form and honeit to make it into a reality. that's why we need to establish a multi institutional workinggroup, to develop a pilot, to test it out, guinea pigs, if anyone here is interested.let us know. so roll it out to the people who would find this useful, either as a mechanismto redirect, re route donations that are offered to them that don't suit their mission or togo on to the site and kind of search for things

that would be offered, because maybe the lewishistorical society in tiny little lewis, delaware is interested in something and they don'thave the funds to purchase, but this would be a really great way to maybe find that littlenugget that would really bring something to their small institution. you know, once wewould roll out the pilot, we would conduct analysis, make adjustments and policy decisionsas needed or find out, does this really work because it's great in our minds, but it maynot actually work and you need to find that out. if it doesn't work, at least we couldsay we tried, right? that's my philosophy. and then gradually expand. and by expand,we mean take over the world. global. pinky and the brain style.

meghan ryan guthorn:one archives conference at a time. dawn sherman fells:so proposed product and goals. again, conceptual. a robust web resource that would help growcollections, maintain mission focus, cultivate donor relations and cultivate professionalcollaboration. i kind of came up with this inkling of this idea of attending anothermarac a year ago in the fall when i attended a donations session where there were folkssaying we kind of felt pressured to take a donation because it was kind of an importantfigure and then someone else said we're struggling to get donations and to stay relevant andto stay afloat. so it's kind of something i think on different levels a lot of differentinstitutions are dealing with. and resources

needed, we need you guys. we need all thefolks in our profession. your ideas. again, meg and i, we exist in the world of nara ina room, 55-10 on the fifth floor. meghan ryan guthorn:we never leave. dawn sherman fells:we don't. no records are there, though. so our world is very small and our interactionsometimes is very limited. so we don't have a really broad perspective that folks whoworked in other cultural institutions can bring. we need tech people. again, back totech, i.t. knowledge, policy knowledge, marketing skills, server space, time, all those thingsthat john actually outlined. i was very impressed with the, you know, list that you were showingthem. i was like that's what we need. if we

could just get started. so i might be emailingyou later, john, to say how do we get started. and basically the benefits, right? where arethe benefits? working together, redirecting rather than rejecting, we build those professionalrelationships, we build strong customer service reputations, right? because we don't wantfolks, you know, calling meg and meg saying, no, we don't want it and then them walkingaway and at a dinner party saying those folks at nara, they're jerks. they don't care abouthistory, you know. we want to be able to say, hey, this doesn't fit our mission or yourreally important collection is going to get lost in the vast world of nara, so let ushelp you find an appropriate place, an appropriate home that can showcase these important records.build trust with the public. again, that's

by putting your best foot forward and tryingto help them find the right home. we want to build collections; collections that stayfocused, but help other institutions grow their collections where they need to. and if you're interested or have questions,you can join us in rochester. you can take our survey that's currently available. ifyou're part of marac received the email blast and it's still open. and you can always contactmeg or i directly via our email. questions? comments? concerns? recommendationsfor better jokes next time? meghan ryan guthorn:yeah. we could use a couple of those probably. john legloahec:we have a question.

[comment off microphone] [laughing] john legloahec:an actual, valid question has come in. it works. we were wondering if it actually worked.the question is: how is it different from the archives list where offers are often made? meghan ryan guthorn:well, there are many archives lists, so i'm not sure which one you're speaking about specifically. john legloahec:i think we're referring to than darn list as it's also known as the saa sponsored archivesand archivists listserv. meghan ryan guthorn:i guess there are a couple of reasons that

i would consider this different. first, becauseit's not an email blast. and i think that from a point of view of respecting donor privacyand really making sure that when donors contact us, it's not or in my experience when donorscontact us, it's not with the expectation that we're going to solicit other homes forthem. it's with the expectation that their records belong with us. so when i'm lookingto try to find an alternate placement, i would call around and be very vague. if the donorcontacted you with records relating to or maybe there was something that had somethingto do with are you collecting. and i think that i would be very uncomfortable puttingsomething in an email blast for privacy concerns and without the donor's express permission.so having a centralized resource where you

could find the information on your own withoutproviding that kind of detail or blasting a lot of people i think would be very helpfuland also very efficient. a big problem or a big concern for us is timely response. i'msure that comes as a shock to a lot of people, that the federal government doesn't have agreat reputation in the timely response department. so i would prefer when i'm working on thisto not wait for people to respond to my email. that can take days. and sometimes it's alreadybeen a couple by the time that i start working on a project. so i think that having a resourcewhere you could go and find out quickly what's active, what institutions are active and reallynot wait for a response or wait very shortly for a response or create a much more targetedemail blast would be very helpful.

john legloahec:thank you very much. any other questions? the same person who offered the previous questionsays great talk, by the way. an excellent day. kudos to all. thank you very much. all right. well, we've been dwindling allday. for the last time, i am john legloahec, i am the chari of the mid atlantic regionalarchives conference and i want to thank you for attending the archives fair this year,an event that was from october 13, 2013 when this outing got caught up in the governmentshutdown. as you may know, the archives fair is traditionally held during archives monthwhich is in october of each year. the dedication of all those who worked on the fair this yearis a testament to their professionalism of

those individuals who worked so hard to makethis event happen. i'd like to recognize the special events staff here at the archives,especially erin furnia and quinn brewster, our technical guru mujeeb chowdry and histeam for helping with the webcasting of today's presentations, jeff jackson and whole av teamhere in the theater. i'd like to thank the archivist of the united states, david ferriero,for letting us use his house for the archives fair this year and for kind remarks this morningas well as the entire management team here at the national archives for allowing allof us and all of the nara staff who participated in this great event today. i want to recognizeand thank my colleague and predecessor as the national archives assembly president,matt hebert, who worked tirelessly to bring

the archives fair back to the national archivesafter a hiatus of several years. this event, which i hope will continue for many yearsto come, perhaps as soon as this fall, we can do it in october like we're supposed to,it's a fine example of collaboration among archival repositories throughout the d.c.region as well as cooperation between two great professional groups, marac and the nationalarchives assembly. in addition to matt, i'd like to extend my congratulates to marac'sd.c. caucus representative, andrew cassidy-amstutz, hiding up there in the back, who helped toorganize the majority of the presentations that you heard here today. in addition toandrew's everyday responsibilities at the library of congress and his dedication tomarac, andrew is also the host committee chair

for this year's society of american archivistsannual meeting which will be here in washington d.c. in august. it seems to me that much likeme, andrew is one of those guys who will say yes to just about anybody. in addition tomatt and andrew, there were others on the archives fair planning team, including ellenmulligan, who's been floating around all afternoon, the current assembly treasurer, barb aikens,who we heard from in the great session on the monuments men, and john martinez, stillsitting here in the front row who participated in this session on the snac. i'd like to thankall of the other panelists as well, elissa, helena, ching-hsien and meredith who gaveus some great inside on crowdsourcing of archival access. greg and maygene, along with barbshared those great stories of the monuments

men with us. the jerry and john show on thegreat work undertaken by the snac. and finally, dawn and meg for their great idea of a donationspartnership database, an idea that i've said has great merit and i hope to see move forwardin the very near future. if you missed this presentation, please come to rochester, whereyou can see it all again. i hope that everyone had the opportunity to speak with our exhibitorsand repositories that joined us today out in the exhibit area. the number of tablesout there reinforces my point of the success of this event, as does the people who attendedthe fair over the course of the day. thank you for your continued support of archives,the national archives, marac, the national archives assembly. please note that the eventplanners are hoping to distribute a survey

in the coming days that we hope you will takethe opportunity to let us know what worked, what didn't, and what we can do better nexttime. what we do as archivists on a daily basis is important, and being able to shareour successes with each other as well as those outside our profession, it makes our jobsthat much easier and we are more successful in the long run. my thanks to everyone andi look forward to seeing you at the next archives fair and thank you very much and good evening.[applause]