tv Tavis Smiley WHUT November 7, 2013 8:00am-8:30am EST
the other hand, there are some artifacts that speak to the courage and commitment of people. if you get a chance to look at harriet tubman's artifacts, that >> it does,u up. especially if you find out how tiny she was. she was powerful. you can't tell if you gave away your position. it was almost military like. it was enriching to find out all the stories behind these artifacts. hope every child, man, woman can watch this show. if you really want to learn
about what it was like in those days, the good, the bad, the ugly, indifferent, you should watch this. you have aow foundation, but there is one that work specifically with young kids, and i found myself speaking to a classroom of kids all across the country. when the subject of harriet tubman comes up, i will have a short person about the size of her, and it is amazing to watch the eyes of these kids, and you size her up. you say, this is the size of harriet tubman, and every kid in the classroom goes, woe. small inrealize how stature she was. i make the point said k neil wasn't the first -- shaquille
o'neal wasn't the first tall negro. it is amazing. i always bring the shortest person in the classroom and the tallest arson in the classroom. in classroom.son i say, she is leading them to freedom. was a gun and a bible. you are not going to give up your position. if you go back they will kill you. be able to see all that is pretty amazing. marry, she did finally she married someone 20 years her junior.
jive with what was going on. wrote andone book he hat his family wrote. he was enslaved. he was allowed to leave for the weekend and go to the next plantation. in all the inhumanity going on, that was very human. still, he had to go to the next plantation to visit his wife. -- littleitzer butterings of humanity, it's still kind of hard to see humanity as a whole in that situation.
if you could have humanity in degrees. there are degrees to which people view humanity. >> what people also learned is that slavery is not looked upon as a great or cool enterprise. it was looked down on by a lot of people, but it was also the oft lucrative. it was kind mind blowing. on the one hand people say it is such a arable business. what do you say to that? great a is they have so
coming up, a conversation with "dilbert" creator scott adams. stay with us. "dilbert" is without question one of the most successful syndicated comic strips. it is appearing in 70 countries and 25 languages. says yourt creator learn more from failure than success. he has written a new book with the title "how to fail at almost ."erything and still win big good to have you. why this book and why now? >> i noticed 80% of the world has never met a famous or successful person. a lot of people have no mentors or role models. even if they know somebody they don't watch them go to work.
i think the failures are more than successes. -- instructive than successes. give me one example of what you mean by your own personal failure. failure, --out my >> without my failure "dilbert" would not have existed. i tried to be a computer programmer. topent two years trying write games. it turns out i'm not a good programmer. i am working on an internet startup on the side, and all
these things become knowledge you end up using somehow. they were beyond interesting. they are in some ways counter intuitive. bs argue that passion is when it comes to success. everyone says you have to be passionate about what you engage in. you say that is crap. >> when people get interviewed and they say, what is the secret to your success, they almost always say passion. what are the other answers? they would be embarrassing. i am smarter than you. how about, i got lucky? how about, my dad was rich. he got me started. none of those answers sound good. andabout, i was passionate,
if you were more passionate you would be a billionaire. always a little excited in the beginning. if it works, i get real passionate. it drainsn't work, right out of here. if not passion, there has to be some energy, some drive. >> i write about taking care of your body. learn fitness and diet. i'm not telling you how to do that. i think you should make it a lifelong study. the people who know about those things get the best result because they make smarter choices. healthier it is going to be better.
don't you said you believe in goals. you believe in systems. your point, but for those who will hear that at first hence and say, what does have against goals? >> they only work if you have a system. if your goal is to lose 10 pounds, you're going to fail until you get there. if you get there are you done? better thing would be to make it a lifetime study. if you are thinking about things in terms of a system, it just works out. my system for success was from my college days i knew i would try a lot of things. work. them wouldn't
i tried a number of things like writing video games. my system is if it doesn't work make sure you are smarter at the end. -- look at me is the perfect example. i'm an average artist at best. i never took a writing class but i can put a sentence together. i'm not the funniest guy. i have three eggs. -- three things. individually the skills are just ok. >> be on skills you talk about experiences. do, the things you can more things you can do. you talk about golf and about
how that has aided and abetted you in many ways. >> it's also about knowledge. the more you know, the more you can know. i make sure i am learning something every day. if somebody came from outer space and said, can you explain what all worse is? it would take a long time, but if the second quest -- what a horse is? it would take a long time, but if the second question is what is the zebra. you are halfway there if you have got a basis. tavis: if one size does not fit learn more from our failures than we ever do from there sosses, why are
many books about success and failure? it is not like my success works for anyone else. why is this such a burgeoning business of self-help books? >> everybody wants a quick fix. everyone wants the promise of success. my advice was don't take advice from a cartoonist on anything that could get you killed or fired, but rather, if you have a chance, if you have the option, the first day he will always do is talk to somebody who did it. you will say, you tried this. what did you do? if you talk to a few people, you can say, this guided this. that work.
i offer my story. tavis: having said that, take me back and give me a sense of how you failed your way into dilbert. >> when my corporate career , first at the bank and then the phone company, i started looking around, and it was part of my process of, let me try some a new and see if it works. when i tried to syndicate dilbert, the first reaction was this is poorly drawn, and i but what i found is there is a small core of
people that are wild from the start. that turns out to be a good indicator you have got something worth doubling down on. the things people say, that is pretty good, but it's just talking. to dont somebody something with their body. if somebody says, i liked your book, i say thank you. tell me if the book is going to be good. said, i liked your book and there is somebody i want to give it to, that is always a good indicator. on dilbert there was one guy who organized it by topic and put them in a book he created. about the value
of having a lack of fear or embarrassment. think it might be natural to me. i don't get embarrassed at the same things other people do. say the biggest thing that holds me back is i am going to look like an idiot if this doesn't work out. people don't care. they care about themselves. part of it is making sure people that don't speak in front of crowds because they are nervous just to it a lot. at the end you are like, i will stand in front of a thousand people, and if it doesn't go be funny. will
that was thesay, worst speech. you can learn to harden yourself against embarrassment. i wonder whether or not your mission with "dilbert" when you started, has it changed? whatever you were intending to content of"dilbert ," has it changed? >> at first it was just a job, but when it took to business focused people started taking it seriously. it did become a lot of comics
your desk.ft on it became weapon eyes. in some way it helped curb the excess. weaponized. tavis: you argue for those who say money can't i you happiness, they are wrong. y happiness, they are wrong. >> they are totally wrong. that $75,000 a year is a magic number, but my experience is more is better up to a point. then there is a point that doesn't make a difference. tavis: your argument is money can't buy you happiness because money gets you freedom, and the freedom allows you to do what
you want to do when you want to do it. >> happiness is nothing but good health and freedom, and money is the best way to buy the freedom. if nothing else there is someone who would like your money and you can help them out. tavis: it's somewhat .ounterintuitive that is what you promise in the book. "how to fail at almost everything and still win big." it's not an advice book. it's a book of information. scott, congrats on the book, and good to have you on the program. that's our show for tonight. thanks for joining us. faith.ys, keep the back for more information, visit pbs.org.ley at
barry kibrick: today on "between the lines," the world-renowned and most unique baby photographer of all time, anne geddes. i'm barry kibrick. anne's work is published in 79 countries and 23 languages, while her calendars and cards can be found in every corner of the globe. with her autobiography, "a labor of love," filled with her extraordinary photographs, anne tells her personal story, and we learn why her imagery has become a source of inspiration for so many. linda ellerbee: i'm a writer today because i was a reader when i was 11 years old, and it was... deepak chopra: you do not need to prove your state of happiness to anybody. warren christopher: most of these speeches were as much as a month in preparation. stephen j. cannell: the characters, the heroes of this book are seekers of
truth in a story that involves a lot of corruption. man: i get a chance to really talk about what's real, and this is the purpose for me. barry: anne, what a pleasure it is to have you as a guest. you've already felt all the energy here from the crew and everybody coming up with their books and getting them signed. thank you so much for joining us. anne geddes: oh, you're very welcome. it's lovely to be here. barry: oh, it's our pleasure. i wanted to begin with these words that you wrote, because this is--and it was even hard to describe it because it is such a real coffee table photo book, yet it's an autobiography. it is the great combo. and you say what has been surprising in the writing process was that how much you learned about yourself even to this date. anne: mm. i think the writing process made me, um, analyze even more why i do what i do. and it took me 12 months to sit down and actually put everything to paper. originally when the
concept of a biography or an autobiography came up and was suggested to me, i thought automatically, um, get someone to write it for me. um... and--because i'm not a writer. i'm a photographer. and we tried that for a week or so, and i thought, you know, this story is so personal, i'll just do it myself. it's probably easier for me to sit down and spend this time, this 12 months--and a lot of it was in isolation--uh, just putting my thoughts together. and so i did learn quite a bit about myself. in terms of making it an autobiography and talking about my childhood, that was the most difficult aspect to it, because it would have just been easier for me to do a book of my iconic images and the stories behind them. but for me, i wanted to make it much more meaningful than that. for years people have been saying to me, why babies?
you know. and probably thinking, who is anne geddes, and who is the person behind these images? why does she keep photographing these babies with so much passion and commitment? and therefore i had to tell my life story. it became an autobiography. barry: well, by the way, throughout our conversation, by the way, the viewers will be seeing as many pictures as i can appropriately put up as we're discussing, all right? but you mentioned the childhood. and at first when you start to read about your childhood, it almost seems pastoral. you're out in the outback, it seems like-- it seems--and then you see the tension between your mom and your dad. in fact, you use a line--i won't be able to find it right this second, but--oh-- "emotionally barren environment, invisible and impossible to define." you'd almost think that they were the example of dysfunctional when it came to their relationship and the effect it had on you and your sisters. anne: well, one of the hard things to...
for me to write about is--is-- well, one of the hardest things for me to come to terms with in relation to writing about it was my childhood wasn't one of those awful, awful childhoods that you read about in--in books these days. and it seems be, everybody wants a story that's even more terrible. it's like, oh, that's awful. say, what about your story? that's really terrible. my story was, um, one of those--it was about one of those childhoods that could just slip under the radar, so to speak. you know, i was born in 1956, um, to parents who were on the land, 26,000-acre cattle station. it's important to have a boy. um, and they had 5 girls. and so what happened to me was, we grew up in a situation where my sisters and i used to joke, oh, you know, they tried 5es