courageous tested. you are americans. you are the product of the freest society mankind has ever known. no one ever has the right to destroy your dreams. write down the end of this hall is the lincoln bedroom. -- right down the end of this hall is the lincoln bedroom. more than anything, that memory drives us to see vividly what ought tot lincoln sa save. america must stand for something. we americans have never been -- tonight, we are asking no more. reagan: making a final

drugsment not to tolerate . won't you join us in this great new national crusade? president reagan: god bless you and good night. >> a 25-year-old architect in training was named a finalist in an international competition to design the world war i memorial in washington. , heully realize his vision invited bedroom -- he invited veteran classical sculpture to join him. the centennial commission

announced in january. they talked with american history tv about the ideas behind the memorial which commemorates the war's centennial and the 5 million americans who served. it will be built entirely with private donations. it is a short walk from the white house. >> the way it is set up is to relate to the context. on the eastern side having the plaza. on the western side having the sherman memorial. how do you get people from this part into that part? how do they see the park from each of those places? as you walk along the sidewalk from freedom plaza over there,

that becomes the line that draws you into the park. as you are on the other side of sherman, you don't see into the park. can we clean out the trees on that side of things and bring down that wall ever so slightly so if you're on that side of the street you look over and say, hey what is that? positioning the sculptures where we did allows greater visibility. as you enter from the west side along the north end, you come in on axis with that brothers in arms sculpture. you can see it all the way down the street. from the elevation perspective having the raised park will allow people, especially in the winter, to see down pennsylvania

avenue. they will make that connection with the rest of the street where they can't now. if we can get people into the park and really, they will see it and see out, they will have a greater connection with the urban area. >> elevated space with greenery. the idea is we are doing figures to create a sense of elevated humanity. going on from that. now we have to get this done. what is coming next is we have to meet with the centennial group but also agencies we need to meet with. address their concerns. so we can create something that answers not only how we would come to the table but also elevates to a higher level artistically because they are concerned coming out in the art.

>> stage one began with just looking at the site. i had never been to d.c. up until stage one of the competition. all of my initial research was based on photographs and thankfully google is an amazing resource. looking at newscast where you can see the park over someone's shoulder, how they are using the space. places where people are actually going to go into. knowing why they do that is a big part of the design process. it moves from the site itself

into how does the site breakdown. where do people come from. it just kept evolving. these of the more cleanup versions. i had more than 20 designs. i brought all of these drawings with me to the first meeting of the commission. create, give back what is the fountain space to the people of dcs park space. it is a part of the city where there is not a lot of green space. i think people want to use it. people fought for freedom and public space is a freedom. the more you can given back, areas where communities can develop and bring your family.

give them as much of it as we can. the weight of sacrifice is about the group. a lot of memorials you see out there are about individuals, like the vietnam memorial. it is really about the names. rather than remembering the individuals here, it is about the group. this collective is made up of immigrants and first-generation people living in the u.s. they came together to go over to europe to fight for our freedom. rather than remembering them as individuals, that name comes

from the moral weight that that group carried. also the fact that it was a group. that more than anything drove the concept. hopefully what people take away when they see the memorial is knowledge of the past more than anything. with the 100 year anniversary, we want to educate the american people about this event. so far the response i have gotten has not been about the design, they said thank you for doing this. they had parents or grandparents who served in the war. they deserve to be remembered. more than anything, i hope that is what people take away. >> what we are being asked to do is to create a visual

narratives. what i do in the studio is an explanation of what world war i looked like. we process almost 80% of our knowledge through our eyes. i have to be historically correct. art that is elevated to explain something that is of such great importance historically. the north and south walls are quotations from soldiers, historic figures. on the south wall leading you into the wall of remembrance it is all about before the war and things like woodrow wilson's speech on neutrality. keeping the u.s. out of the war. we are trying to convey how people felt and give people an idea of what life was like before the war.

on the north wall, or quotations about the war itself. trying to get people who might move all the way around to see the change in how they saw themselves in the world. how they were transformed. i got a great opportunity to go to the world war i museum in kansas city. find journals and manuscripts of actual soldiers and letters home. you can see from the beginning to the end how they transformed as people and what their attitudes were towards war and how they in the country saw themselves. to help you make this is the wall of remembrance. from joe's idea we want to do a beginning middle and end. it is a professional wall.

beginning in my mind that the world was different. you had the sense of divine order. a gentlemanly war. it turned into an industrial massacre. there are rhythms in this area with the horse. there is a human quality. as we move over to this side of becomes more aggressive. this becomes the war itself. the angular nature of it. the middle panel is the brotherhood of arms. the three figures are represented, the middle figure is the wounded soldier and they are allegories for the past, the present, and the future. in the drawing you can see the

translation from the photograph. a lot of artistic structural construction that goes on. i am trained as a classical artists so i am bringing to at this sense of order and design based on how the universe is assembled mathematically. i'm very interested in light and how light illuminates structure. i see the figure is having two parts. the dichotomy of architecture which is the skeleton and the muscles and the drapery which of the energetic spirals the travel rhythmically through the composition. the wounded soldier is falling down but then with the drapery and the light there are all

these things that are rising up towards the future. the future's face is the most illuminated element of the whole composition. also an infinity symbol that i constructed into this. how the arm is picked up by this hand which is picked up by the drapery the continues through with this hand going behind it. the head of shoulder and the arm. all these other allegories that are described within how i designed it. the infinity symbolism is about eternity. about how this is an element that will always be there. you have this sense of caring

humanity the senses humanity. how do we create the collective? where all of humanity is represented. nobody is left out. there is the sense of interwoven connectedness and that is why we also had this terminology about brothers in arms and weight of remembrance. this sense of our society as a whole and how that is represented within the memorial. >> that idea really came from working on the dialogue that we had. it is a great war about advances in technology but we wanted to, for going to remember this for the people. very realistic figures. not an abstract war even though it is so abstract in the mental

consciousness of the country right now. it is about real people who had real stories. we want to tell those stories. it really evolved as trying to celebrate the connections that people made in this war and the connections the country made. the country getting out there and stepping up into the world stage. moving away from being an isolationist nation. we're trying to wrap up all of those things into this memorial and not just haven't the guns blazing. >> the vietnam memorial did weigh heavily on my initial

thought process. people don't necessarily grasp when they see that a lot of it is about time. the way that those walls elongate as you walk along them and they get taller. it translates into something where you have the beginning of the war on one end as the dates go along chronologically. and the dies back down. we're trying to capture similar ideas about time. the whole memorial itself the way it wraps around that park space. the quotes along the north and south walls bringing the war into the wall of remembrance. the walls do come and merge from the ground to become this tall wall of remembrance. the way we saw it was a single format the time has eroded. is reemerging now. in that way we can connect back to the centennial. i want people who visit this

memorial to feel like maybe his part has always been there. they just have missed it. they just walked past the memorial. >> one of the things is why human beings? if people look at something they look at the wall and the wall covers the different feelings that all human beings have -- mad, sad, glad, and scared. they will have a connection with the art. they will walk away from that memorial remembering what they saw and having a greater sense of connectivity with humanity. it is got to have a visceral reaction on the viewer. without, if we had not put figures in here we would've done

something like maya lin. we don't want to copy someone else. we have taken her idea and brought in the idea of figures and meshed the two together. it is modern and it is traditional. we are trying not to neglect anybody who comes to this part because anybody will understand it. they will react in their own personal way to something that is universal. >> what we do with these cultures is we brought them down to the level where people can touch it. a durable enough wall that we want people to have that connection and rub the finger. through that tactile experience people can create their own memories. >> it is accessible. you can reach out and touch it. we are giving him that same sense of transformation but at hand level.

i work in the south bronx with live models. 50,000 hours of that. these people are not professional models. they are people that i found on craigslist. world war i was made up of the same demographics. you didn't have live looking models. i had to find people that fit the criteria. we are not done yet. this is just the beginning of the evolution. there is an even larger variety in this country of immigrants. the initial stage i started here before joe.

that didn't make it to the finals. i started all over again. very classical. it was not fitting and appropriate to the site. when i got the call from joe, joe had a phenomenal idea that i thought sit very well with right do which is making art about conductivity and humanity. how the human spirit gets elevated. i started from this and went to a triptych. i went into the studio for our first meeting. three figures at once.

i put that together and i tried to connect it with harmonious qualities. the figures than on the outside which were six or seven shots all put together. i traveled to a stable and upstate new york to find a horse and put myself in it. the guy in the courtyard. i would go back to jail with the images. talking through the perspective of it. he was a model on the apollo sculpture. brian works at the maritime college.

he had access to a cannon. we re-created the same scene. it was inappropriate for the time period. these drawings are twice the scale of the originals. now we are in the middle of a process of taking these forward to a whole different level of evolution. in the next age. this is what we did up to the competition. what follows now is that i'm starting completely new because i have to speak to all these different groups. and bring their ideas into the picture as well. i want to clarify this is not what will be in the final. my process in moving forward involves going back and getting the uniforms that are real uniforms like these.

i have to get real people for the photographs. already the input has started. i bring my experience as a sculptor. they bring the historical knowledge. 16 and 17-year-old boys were put into this war. so i have to get models that are much younger looking. that i have to get the right arms so this is historically accurate. i have to do this in an

aesthetically artistic way that conveys the story that is not boring. a sense of elevation of spirit. i compare this to doing the sistine chapel almost. 81 feet long. 30 figures. also a background. the background is also vegetation. with joe's help i took the background and he helped digitalize this. at the beginning of the war the vegetation is still intact. as you move over it turns into a moon crater. just completely bombed out and destroyed. i need to do our research in terms of what are we going to present here. how do we deal with all the concerns of all these different committees.

i'm serving. my work is in service of the memorial. it is a monumental task. >> the pershing statue is exactly where it is right now. we're trying to preserve it but also to play off of it. the upper lawn is proportional to the area around the memorial. there is that connection. also connection with the statue of pershing. him serving the troops with his binoculars. bringing the statue down to a height where people can go open touch it.

a level that is even with the wall. we have purchasing surveying the troops but also surveying the wall. the freestanding sculpture of humanity is about the ties of these three figures. they are standing on the precipice. there is no going back. they are in the process of firing the cannon. they are looking back for guidance you can see that relationship. they're looking back to past experiences. looking to others who aren't in this picture. once they make that decision to fire the cabin there is no going back. >> the wheels of humanity is about moving forward but also looking back.

entering into something that is very destructive. a very active composition. i lowered the perspective so the figures look more monumental. things are pulled tight. the sense of movement almost like superheroes. because of where the viewers eye level is. >> the trees that are going to be placed along the upper portion are species of red maple. one of the approved street trees in d.c. they are called the blaze of glory maple. they have these great rich red

leaves. at the end of october and early november we will have this coloration right in time for the armistice every year. we are hoping to have one tree for every battle that the u.s. was a part of. >> joe and i just came back from the mall. we looked at the world war ii memorial. the vietnam memorial. the lincoln memorial. the next step in our process we are starting to redesign with the committee. none of this would be possible unless we come up with the funding. this is not paid for by tax dollars. this is completely based on citizen donations.

there is a website where you can see what we have done and we are the process of moving forward. the committee is in the process of raising funds. so we can put our artistic talents in sculpture and architecture to work. >> hopefully we will have a blog that people can follow along as well. they can see what they are donating four. and be more involved in the process. we are kicking off this process now. we're hoping to finish up by the end of 2016. breaking ground in 2017. the big push is for commemorating the memorial on november 11, 2018. the centennial of the armistice. >> the next step is to go through the design.

to unveil it in november 2018 is just unfathomable. it is so important. it represents something that is so historically crucial. >> bringing people back into the >> and bringing people back into the history the next couple of years, really pushing us to that date. hopefully it will be a big success, and we can get people back to learning something about their wars and their history. >> there is no other option, really, but success. >> you can watch this or other "american artifacts" programs anytime by visiting our website, c-span.org/history.

buff.m a history i do enjoy seeing the fabric of our country and how things -- just how they work, and how they are made. presidency, american artifacts -- they are fantastic shows. >> i had no idea they did history. that is something i would enjoy. american history tv gives you that perspective. >> i am a c-span fan. touringyear, c-span is cities across the country, exploring american history. next, our visit to anaheim, california. you are watching american history tv, all weekend, every weekend, on c-span3. are on what is now a one acre park known as founders park. basically, it was designed to incorporate the mother colony

house and historic house. basically, each home represents a different era in anaheim's agricultural history. the mother colony house is from the winemaking roots. our culture is represented by the mother colony house. as he moved to the stover house which was built in 1896, we are firmly into the citric culture era where we are growing valencia oranges. this was primarily cattle range prior to anything like anaheim even being thought of. los angeles has already been founded. they are a nice metropolis. it is not big but it is growing. winemaking has become a big business.

john frowling and his partner were not able to keep up with the demand despite their own vineyard and stores. they became interested in the thought of what if we start a winemaking colony who can actually grow the grapes, make the wine and we will distribute it. they go to san francisco which is where a lot of the german immigrants are located. actually, they are able -- i find it shocking -- they were able to convince 50 people of home nobody was a farmer and only one person had any background in winemaking to give up their businesses and come to anaheim and make an investment.

it was a major investment. the first action after they form the los angeles vineyard society because it was part of los angeles county at that time was to hire george hanson to be there superintendent. he actually was the one that found this location, 1165 acres. his job was to bring irrigation here, layout the town and plant hundreds of thousands of grapevines. this is the house that george hanson built for himself to live in while he was here. it is the first wood house that was actually constructed in what is now anaheim and the oldest woodframe structure in what is now orange county. now, we are in the replica building located behind the stover house and it houses our agricultural exhibit for anaheim. behind me are a number of artifacts from our period. 1857 through 1885. we have probably the largest piece behind me which is a wine press.

this was used in the only really commercial winery that we had in town. it was run by benjamin dreyfuss who was the only person who had any background in winemaking. most of the families that moved here had not even been farmers so it is a miracle if you think about it that they were able to succeed. by 1884 which is just before the blight hit, we were actually making over one million gallons of wine. that is the actual wine that was sent to market. they would have some local wine here that they would have used in the hotels and homes, etc..

anaheim was actually the center of winemaking in california at that period. nobody produce more wine than we did. the majority of the winemakers were families, so if you look at some pictures that we have, you will see family members sitting down with their barrels of wine and putting it in the bottles and putting on the bottle caps and the labels and getting it ready for wine. this is something the whole family and even the whole community would get together and actually get done because this is what their economy was based on. you either had a good year or a bad year and depended on your neighbor as well as yourself. this little booklet is a facsimile of the original from 1869 and it shows how they actually marketed about 12 wines under the common name of anaheim, california wine. this was published in new york in 1859 which actually shows they were having to compete against european wine. the wines in here, for example, is what they call the anaheim santa ana. the anaheim sparkling, and my personal favorite the anaheim eureka champagne.

anaheim was struck by a blight. they noticed there was a problem with the grapevines. 1887, 1888, a number of the actual grapevines were actually totally decimated, destroyed. by 1889, the anaheim people had said ok, our wine industry is pretty much gone. we could import grapes but there is an added expense. the majority of them said we could give up that we don't want to do that. we like anaheim. we have good soil here. something has to work. they try to number of different products before they actually settled on the next big products which was the orange, including the anaheim chile pepper.

you can still buy them but they are not growing in anaheim anymore. walnuts were always second to the valencia orange. what they did not learn from the demise of the grape industry is needed to make sure they didn't put all their eggs in one basket. you needed to have more than one crop seed and fall back on another one. you would plant some valencia oranges and something else -- walnuts, apricots, something different. this was really kind of a risk to take. it was not a proven kind of venture.

they hit the bump in the road where the grapes are dead and a lot of people would have probably given up and gone back to san francisco and started again back there. you see this same kind of theme through anaheim where they are really trying something new. >> our cities tour staff recently traveled to anaheim, california to learn more about its rich history. learn more on our tour at c-span.org/citiestour. you're watching american history tv, a weekend, every weekend on c-span3. >> up next in the presidential campaign ads. first, and had four republican barry goldwater, followed by one from the lyndon johnson campaign. >> on october 18, 1960, speaking and heads of a net when he was running for vice president, lyndon johnson said i don't want some bearded dictators 90 miles off rubbing his nose at us. now to debate him on the segment, here is buried goldwater, who calls into account for this administration's colossal

bungling on cuba and castro. >> the same dictator is still off thumbing his nose at us. the bay of pigs has left us a dark blot on our national pride. the u.s. must provide the the leadership, which will deal effectively with the problems of cuba, and will stop the spread of communism in the western hemisphere. >> in your heart, you know he is right. vote for barry goldwater. >> i don't know just why they

wanted to call this a confession. i don't feel guilty about being a republican. i have always been a republican. my father, his father was, the whole family is a republican family. i voted for dwight eisenhower. i voted for nixon. but, when we come to senator goldwater, it seems to me we are up against a very different kind of man. this man scares me. maybe i'm wrong, a friend of mine said to me, listen, just because a man sounds a little irresponsible during a campaign doesn't mean he will act irresponsibly. you know that theory, the white house makes the man. i don't buy that. you know what i think makes a president? aside from his his judgment and experience, are the men behind him. his advisers. the cabinet. so many men with strange ideas -- are working for goldwater. you hear a lot about what these

guys are against, but what are they for? the hardest thing for me about this campaign is to sort out one goldwater statement from another. a report will say senator on such and such a day, you said, quote -- and then goldwater said, well i wouldn't put it that way. i cannot follow that. is he serious when he says he wouldn't put it that way. i don't get it. a president needs to mean what he says. president johnson, at least he is talking about facts. he says, we have a tax cut bill. because it's not you get to carry home x number of dollars every payday. we have a nuclear test ban and there is x percent less radioactivity in the food. by goldwater, i can't figure out

just what he means by the things he says. a craven fear of death is running across america. what does that mean? that people don't want to fight a nuclear war? he is right, i don't. but when i read some of the things he says about total victory, i get a little worried. i wish i was as sure that goldwater is against war as some of these other things. i wish i could believe that he has the imagination to shut his eyes and picture what this country would look like after nuclear war. sometimes i wish i had been at the convention in san francisco. i wish i had been a delegate. i really do.

i would have fought, and i wouldn't have worried about party unity. if you unite behind a man you do not believe in, it is a lie. those people who got control of the convention, who are they? when the head of the ku klux klan -- when all these weirdgroups come out in favor of the candidate of my party, either they are not republicans or i'm not. i thought about just not voting in this election, staying home. but you cannot do that, because that says you do not care who wins. i do care. i think my party made a bad mistake in san francisco. i will have to vote against that mistake. >> vote for president johnson on november 3. the stakes are too high for you to stay home. >> you can watch more from past campaigns on road to the white house rewind, sunday at 10:00 eastern on american history tv on c-span three.

clark's campaign 2016 continues on thursday. live coverage of the election results, candidate speeches, and viewer reaction begins at 7:00 p.m. eastern. taking you on the road to the white house on c-span, c-span radio, and c-span.org. up next, on american history tv, author and playwright calvin ramsey talks about the significance of victor green's travel guides, used by african-americans to find places to eat, sleep, and visit between 1936 and 1967. this is a subject of his upcoming documentary, the green book chronicles. this event is about one hour 15 minutes. >> we are thrilled to present at program dedicated to the green book, which you do not know about it, was conceived and

published in the writing is to help african-american travelers travel safely during the time of segregation. awareness of the guys faded until our anything speaker, award-winning author and playwright started working on the green book chronicles, which is a documentary that will chronicle the rise and fall of the greek as those -- green book by those who were around to use it. mr. ramsey will give us rough footage from the upcoming film and talk about the history of the publication and how this began. i am happy to start a trailer for the upcoming film. enjoy. >> whether you are traveling on business or pleasure, the chances are you'll troubled by

-- travel by motorcar. the motorcar has been accused to open new horizons, not for the few, but for all. >> we drove constantly, we did not stop. segregation was not in the south. >> travel was difficult in those days. >> they had colored restrooms and they were filthy. but what you do if that is all you have? >> no place do you do any commotion, attract any attention. >> this was not a history that was told in school books. this was not the history that you can find. ♪

>> the place was surprised that there was such a thing as a black marine. >> mr. greene was a mailman for 40 years, he lived in harlem across the street from duke ellington. mr. greene was a man with a seventh grade education. he helped put together a publication that touched all aspects of life. >> my parents liked to travel. they thought it was important

for our education. the thing was to find a black section of town, and find places to eat. i always knew that we cannot stay places. >> even as a child, very lovely man, and it was unusual to have a black client working with a white printer. >> my dad found what was the first place that he could stay between new orleans and the end of the drive of that first day. and the next day we drove all the way to miami, and we stay at the lord calvert hotel, which was listed in the grade book also. -- green book also. ♪

>> those stations had these books in iraq outside the pump. -- in a rack outside the pump. and i find a motel in pensacola, florida. >> my parents owned the first fully accredited african-american travel agency in the united states. they were able to convince people of our time. it took many groups, and eventually took thousands of people abroad. >> he described the fighting and the dog being sick on them, and people who had died for the right to stay anywhere. [applause] >> is now my absolute pleasure to introduce tonight's special guest. calvin ramsey is an author, photographer, and playwright whose works have been shown all

around the country. with the objective of shedding light on the overlooked and missing pages of african-american history, ramsey was just you can educate and bring the audience closer to truth is his first play had its premiere at atlanta's the ethical outfit. and then went on to win recognition as a finalist in the 12th annual last frontiers the conference held in alaska, where it was critiqued by prominent playwrights, actors, and directors. this wild success was followed by other critically acclaimed works. mr. ramsey has also served on the advisory board of elections

at emery universities library in atlanta, georgia council of the arts theater panel, and he is a proud recipient of the dr. martin luther king jr. from major for justice award. please help me welcome calvin ramsey to the stage. [applause] mr. ramsey: good afternoon. glad to see you all out tonight. i am a new transplant in new york city. i have been here 2.5% and -- 2.5 years and i really love new york. part of my reason for coming to new york was because of victor green. victor hugo green, the man who started the green book. how many of you have great parents born in another country

-- in another country? you started the immigration story as well. african-american community, got on the road, to look for a better life for themselves and their families and they called it the great migration. victor lawrence than a whole 60 panel exhibit on this that was here last summer. i had the fortune of being able to go and film all panels. but what the green book is about is about traveling with dignity. being on the road, being a -- able to stop, eat, use the restroom. you just feel safe. without humiliation, without threats of violence or death. victor green, who had a seventh grade education, lived in harlem, he worked and happens like new jersey as a letter carrier. he started working in 1913, and in 1918 he got married to a woman from richmond, virginia,

and then back to harlem, 938 saint nicholas avenue. 20 years later he started the green book. he went take his wife home for summer to visit her family in virginia, they ran into difficulties on the open road. he had a jewish friend who told him about their troubles traveling, and said they had their own trouble. so victor green got the idea from his friend, and he started this green book. he cannot do it alone. he had very little resources, he was a full-time letter carrier. but he had an army of letter carriers all over the united states. mostly men, a few women. these were the guys that would go out and get addresses and places of business and places where people could frequent

while they were on the road. they sent those things into him, and that is how the green book got started. and from that point on, it just grew and grew. the first year you did the green book, it was just on new york. just like other parts of the country, there was jim crow in new york as well. after the 14 was able to expand other parts of the country kept the book going from 1936 to 1964. and history was to undergo out of business. he wanted to have it so african-americans could have accommodations on the open road. that was his dream. he did not live to see it. he retired from the postal service in 1952, and he worked on the green book full-time. but when he started on the green book -- on the postal service in 1913, he was able to join a union, the national association

of letter carriers, which was a white union. somehow or another, he got in this union in hackensack. from that, he cannot use his members to give him information, and in that same year of 1913, mostly male clerks, the grandfather of the first mayor of atlanta, in 1913, this union started, and green and this union would become partners. this was his force. these were his pied piper's. just like today, the military are in your neighborhood knows more about you than anybody else in your neighborhood. he knows who is in trouble, who

might be getting in trouble, and all of that. so these guys knew that, and to ask is not to ask. the act of american women played -- the african-american women played a major role, because back then most of the men were working, and they were homemakers. the woman were at home working, and milkman would ask them, with a nice being in this book. if you look at the green book you will see the address was always mrs. so-and-so. it was never mr. lewis, mr. brown, or anything like that. it was always mrs., because the woman to get upon themselves to make sure that these listings were listed. they were called tourist homes, both most of a small hands --

-- towns did not have negro hotels. they were for railroad workers, traveling salesman, and just single guys on the road and they were not suitable for families to stay in. but these tourist homes were regular homes. there were no phone numbers in the green book with paul, knock on the door, and save your traveling and need a place to say. some people would charge of that, some would charge nothing. and this went on and on. later on, victor green have the good fortune of coming in contact with the gentleman named billboard jackson who was an educated black man who worked in the commerce department under hoover. he was pro-business, and randy

-- a mover and a shaker. i talked to his father, and his father had a 10 room hotel, a service station, and a taxicab stand. he was not a physician. the position part comes from his mother's side. the father was the just as god. had a service station. billboard without and got black men trained to run the stations all over the united states, and these stations advertised in the green book. a lot of people would ask why would rockefeller because he was owned by standard oil, why would john d rockefeller get involved in a program like this? was he trying to corner the market in travel? most people point to rockefellers wife, who immigrated to ohio. her father was a congregational minister, and their home was part of the underground railroad.

there are reports that sojourner truth stayed there any a nice, the family's last name had a school named after them. if you go to the campus a painting photograph of the you will see a painting photograph of the minister and his wife, and the church on campus was called sister chapelle. i thought was because of all the sisters on campus. it is called sister chapelle because of lauren lucy feldman. once they got involved with the green book, 95% of the businesses were black-owned businesses that supported the green book and supported travels on open road. i think we have another clip we're going to show of some of