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This award-winning documentary by Mark Lopez is also based on Richard Rothstein's 2017 non-fiction book, Color of Law (just as the lesson these stories were pulled from was based on the Color of Law.)

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Mark lopez

director, designer & animator

Mark Lopez is an award-winning director of motion design who has refined his craft at world-class motion studios on both coasts of the U.S. alongside some of the most creative minds in the country. Mark specializes in illustrated 2D mixed media storytelling with an eye for composition. Silkworm is Mark's studio practice, based in Austin, Texas, and collaborating all over the world.

RICHARD ROTHSTEIN

WRITER & NARRATOR

Richard Rothstein is a distinguished fellow of the Economic Policy Institute, a senior fellow, emeritus, at the Thurgood Marshall Institute of the NAACP Legal Defense Fund and a senior fellow of the Haas Institute at the University of California (Berkeley). Richard's book, The Color of Law: A Forgotten History of How our Government Segregated America , was designated one of ten finalists on the National Book Awards' long list for the best nonfiction book of 2017.

YOUTOOCANWOO

MUSIC, SOUND DESIGN & MIX

YouTooCanWoo is a an artist-owned music and audio production company based in Brooklyn, New York. YouTooCanWoo's holistic approach to audio blurs the lines between the conventional roles of music and sound design, blending genres, influences, and historical context to create truly immersive experiences. They have been responsible for the production and mixing of MGMT's debut EP Time to Pretend, creating the sound identity of Spotify, MTV, and NBCUniversal; the sound design for official SXSW Film Festival selection Mateo. as well as the original music, sound design and mix in ads for major brands like Apple, Google, Hershey's, and Pepsi.

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Short Film based on the book, The Color of Law by Richard Rothstein. The forgotten history of how our federal, state and local governments unconstitutionally segregated every major metropolitan area in America through law and policy.

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painting by Lauren Mann, inspired by Lou Fushanis story

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painting by Lauren Mann, inspired by Lou Fushanis story

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I chose to include the imagery of the top hand giving the bottom hand money. I did this because in my story, Lou Fushanis scammed African American people looking to buy houses by making them pay a huge amount in installments in order to own the house, and if they didn’t pay this in time, he would evict them and take their down payment.

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Andrei Aprea's painting of Ethel Weatherspoon

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Andrei Aprea's painting of Ethel Weatherspoon

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I took inspiration from Ethel Weatherspoon’s story, specifically the segregated "red line" map and decided to arrange my composition so that you see her getting arrested by the police while fighting for justice, with the map behind her. It displays the districts that real estate companies would use to sell houses, red houses being the neighborhoods where people of color lived.

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Langston Hughes painting by riley vaccarino

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Langston Hughes painting by riley vaccarino

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I chose this concept because all thought Langstons life he felt like the government couldn’t see his family’s suffering. I didn’t draw his face because it’s the one of the most identifiable feature of a person and he metephoticly he doesn’t have an identity, i also put a few of his poems in the pack ground. Specifically ones that talk about identity and  the dangers of his emotions. The beige spiral pattern in the background is to show the hypnotism that has been put on the viewer because they think that the oppression is normal and that its “fixed”.

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painting by Emma Dawber, inspired by Joseph Lee Jones' story

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painting by Emma Dawber, inspired by Joseph Lee Jones' story

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notes from the artist:

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Notes: The idea I had for creating a color composition that reflected my person’s story was how Joseph Jones and his wife were denied recreational housing.

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Painting by Merrick Devereaux, inspired by Joseph Lee Jones' Story

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Painting by Merrick Devereaux, inspired by Joseph Lee Jones' Story

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painting by Joelle Shamatta, inspired by Katherine Peden's story

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painting by Joelle Shamatta, inspired by Katherine Peden's story

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I chose to model this painting after a copy of the Chicago Tribune and the events of the Chicago Race Riots. The color composition of yellow and purple presented me with a challenge, as I was unable to create traditional skin tones and had to think outside of the box.

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Painting by Molly Jamison, inspired by Katherine Peden's story

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Painting by Molly Jamison, inspired by Katherine Peden's story

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I chose to base this painting on a photograph of Peden and the Kerner Commission she was a part of. I used toned down analogous colors and a light purple for Peden herself to create contrast and establish her importance in the composition. In the background is a print of a redlining map of Detroit, which is where many of the riots the commission investigated were located.

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painting by Emily Quinn, inspired by Vincent Mereday's story

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painting by Emily Quinn, inspired by Vincent Mereday's story

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I took inspiration from Vincent's story, specifically the fact that he served in a war for a country that treated him as less than. I chose to arrange my composition with Mereday marching forward before a flag to demonstrate his heroism for defending America. However, when the flag is peeled away, the reality of his situation is revealed. Despite being a veteran, Mereday faced discrimination and was forced into a poor neighborhood because of his race. The contrasting colors are supposed to make him stand apart from his environment, emphasizing how he could be both an American hero and a Black man.

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painting by Brooke Towers, inspired by Catherine Bauer Wurster's story

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painting by Brooke Towers, inspired by Catherine Bauer Wurster's story

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notes from the artist:

We were challenged to limit our color palette yet mix a wide tonal range of colors within that limited palette; I connected this way of using color to my person's story by including a large range of colors varying on the color wheel and incorporating toned down versions of each. I chose a more red/ orange/ blue color scheme and took different shades along with their opposite colors in order to create toned down and bright colors of each.

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painting by emma mclaughlin, inspired by edward jefferies' story

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painting by emma mclaughlin, inspired by edward jefferies' story

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notes: the man in the picture is mr jefferies. he liked the idea of poc and white people living separately so i used that belief to make my painting. the different shades of green for the grass on the sides shows how the white neighborhoods had better housing situations (fenced in) and that the grass on the other side was dead.

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Painting by Nicholas Corcione, inspired by Harvey Clark's Story

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Painting by Nicholas Corcione, inspired by Harvey Clark's Story

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Notes From the Artist: Harvey Clark's story involves a white mob lighting his belongings on fire after he moved into his apartment so I wanted to have a fiery background. The fire itself is made of saturated colors and Harvey is made of toned down color to show the intense rage of the flame and a solemn man who lost everything.

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Painting by Leona Breitenstein, inspired by J. Dexter Peach's story. 

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Painting by Leona Breitenstein, inspired by J. Dexter Peach's story. 

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notes from the artist:
I chose to paint the houses in the background to feel as if they were towering over the smaller apartment buildings in the foreground. This represents how white people had/have more privileges than people of color. The ripped up pieces of paper are representing "trash" in a landfill. The color pallet of greens and reds was challenging because my original idea was to have the houses be in black and white.

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Painting by Luke Gerhart, inspired by J. Dexter Peach's Story

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Painting by Luke Gerhart, inspired by J. Dexter Peach's Story

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I decided to include imagery of a run-down-looking neighborhood because my story is about blacks having worse pollution than whites. J. Dexter Peach explains that he tries to reduce the pollution in black neighborhoods, but housing segregation makes it so he has a harder time helping out.

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Painting by Isabelle McKinnon, inspired by "J. Dexter Peach's" story

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Painting by Isabelle McKinnon, inspired by "J. Dexter Peach's" story

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Notes from artist: I took inspiration from J. Dexter Peach's story, who is a Director for Economic Development in the General Accounting Office trying to reduce hazardous waste in communities (specifically housing segregation). We were challenged to use complementary colors so I used toned-down versions of purple and yellow to paint hazardous waste examples surrounding him and the Congress, floating up to the houses to represent this issue.

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Painting by Leah Sullivan, inspired by “Norris Vitchek's" Story

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Painting by Leah Sullivan, inspired by “Norris Vitchek's" Story

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Notes from the artist: I took inspiration from my person’s story, specifically the idea of blockbusting and decided to arrange my composition so that you see how blockbusting and redlining works. "Norris Vitchek," the man represented in my painting behind the buildings, worked to integrate a white neighborhood next to a Black one and make a huge profit. His red tie symbolizes the redlining that separated Black and white neighborhoods.

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painting by Grace Dray, inspired by Robert Weaver's story

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painting by Grace Dray, inspired by Robert Weaver's story

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notes from the artist:  I chose to include the imagery of an open book , to sort of represent Robert Weaver telling the story of housing segregation through publishing a book. The book has things like a bank, buildings, and a declined loan coming out of it, to represent the stories he tells in his books, about the struggle people of color go through when trying to buy a house.

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Painting by Kadenn LaVangie, inspired by "Vincent Mereday's" story

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Painting by Kadenn LaVangie, inspired by "Vincent Mereday's" story

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I chose to include the image of the Navy symbol to represent that he is a navy veteran. The houses with xs and money signs show that he was denied a housing loan because of his race. The dripping money is to represent that he was not given money. When I started I knew I wanted to use blue and orange, but I didn't know what I wanted to be each color. As I worked on the painting I realized that I wanted to make the background mostly orange so things would not stick out too much. I decided to make the things I wanted peoples eyes to go to blue.

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Painting by Lachlan Steinmeier, inspired by Wilbur Gary's story

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Painting by Lachlan Steinmeier, inspired by Wilbur Gary's story

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I choose the imagery to include of a mob and a house on fire because it shows some of the struggles Wilbur Gary went through when he moved into a white neighborhood. Wilbur Gary explains that people used forms of violence to try to get him to move out of his house when he refused.

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painting by Sylvie Levesque, inspired by Daisy Myers story

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painting by Sylvie Levesque, inspired by Daisy Myers story

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I hope people notice the contrast between the blue and magenta symbolizing the segregation between their race.

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I hope people notice the color contrast between the red and black when they see this composition. I also hope they notice houses of different shades of brown. 

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Painting by Emma Dawber, inspired by Joseph Lee Jones' story.

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Painting by Emma Dawber, inspired by Joseph Lee Jones' story.

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Painting by Emmy Easterly, inspired by Norris Vitcheck 

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Painting by Emmy Easterly, inspired by Norris Vitcheck 

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This image represents a neighborhood in a black community that is experiencing housing segregation, and each printed photo is a zoomed in perspective of what is occurring on each street.

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Painting by Kate Stone, inspired by "David Bohannon's" story 

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Painting by Kate Stone, inspired by "David Bohannon's" story 

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Notes from artist- I choose to add the divide threw the middle of the paper to show how David Bohannon split races by only selling houses to white people. I also added money symbols to show that he only wanted money and didn't care about what he was doing to people.

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The person I wrote about was Harland Bartholomew. He was a zoning director for the city of St. Louis and purposefully segregated black white people by putting apartments away from the suburbs, which is called Red Lining. That’s the reason I chose to included the bold red stripe down the middle of the painting which separates apartments from houses.

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This painting represents the different housing situations that WWII veterans had when they came home from war. I chose green colors to represent the camouflage colors in the army. The rips in the middle of the painting show the American Flag.

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I was born in Mississippi in 1923, served in World War II, and in 1947 moved to Chicago, where I became a taster for Campbell’s soup. After getting married and having kids, I wanted to buy a house. I moved into a neighborhood called North Lawndale, on Chicago’s West Side. There was a Jewish organization in the neighborhood that was recruiting Black families as a “pilot community for interracial living.” I loved the idea of living in North Lawndale, but I couldn’t get a mortgage from the bank. Most white people who had middle-class jobs and were veterans were being offered generous government-backed loans to live in all-white neighborhoods. But African Americans like me were barred from getting these loans because any place we could live was redlined. The government had determined our neighborhoods to be “too risky” to make loans. Without a regular mortgage from a bank, I had to buy “on contract” from an unethical speculator who charged me way more than he would have had I been white. I bought the house for $27,500. The speculator had purchased it for only $12,000 six months before selling it to me. Because this was a “contract sale,” I would not get the deed to the home until the contract was paid in full — and unlike a normal mortgage, I would acquire no equity in the meantime. If I missed a single payment, I could lose my  down  payment,  all  my  monthly  payments,  and  the  house.  I  was  able  to  stay  in  my  home  —  I  still  live there today in my 90s — but only because I fought back. I was a founding member of the Contract Buyers League, which successfully pressured some owners to renegotiate more fair contracts. Still, I ended up paying many times what whites paid for their homes, in both interest and price, which left me with a lot less overall wealth.

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I hope people realize that the red paint represents the hate that Wilbur and his Family received while they moved into their new home. In the lower image the red surrounded them and their house showing that the hate had finally affected and got to them.

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I am was the 32nd president of the United States, during the Great Depression and the beginning of WWII. In 1934 I established the Federal Housing Administration (FHA) which created bank mortgages for more Americans to buy houses. This meant families could pay off a house over a period of months, spanning 20 or 30 years ensuring that all middle-class Americans could afford houses.  Although The FHA helped create more wealth for middle-class Americans than almost any other government policy in U.S. history, it created generations of segregated housing. White families were favored over people of color and forced into lower-income tenants.

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This painting shows the very unfair story of Anne Braden when she tried to help a friend buying a house. When others ridiculed the new people into the neighborhood, she welcomed and accepted them after she bought them the house. After ruthless attacks on them, Anne Braden and her husband were blamed. I painted the row of houses in the neighborhood with all of the neighbors, expect one, digging out of their yards to put dirt on the new neighbors house. The house next to it has a beautiful garden and out on of their flowers in the dirt, while they have a garden violation sig instead on the others who dumped their lawns on their house.

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I am a white journalist and civil rights activist. In 1954, my friend Andrew Wade, an African American electrical contractor and Korean War veteran, wanted to buy a house. When he couldn’t find anything in a middle-class Black neighborhood, he looked in Shively, an all-white suburb of Louisville, Kentucky, where my husband and I lived. In order to avoid racist property restrictions, my husband and I decided to buy the house, then resell it to the Wades. When they moved in, they were met with ferocious violence. A cross was burned in the empty lot next door; on their first night in the house, someone hurled a brick through the front window with the message “N***** Get Out,” followed by 10 rifle shots through the kitchen door. The terrorism continued for a full month, at the end of which the Wade house was dynamited. Though the white bomber and cross-burner confessed, they were not charged with a crime. Instead, the authorities charged my husband and me with conspiring to stir up racial conflict by selling the house to our friends. My husband was sentenced to 15 years in prison. Though he won release on appeal, this experience convinced me that the government was far more willing to protect segregationist housing policies than the safety and constitutional rights of Black people or their white allies.

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I chose to capture Wallace Stegner like this Because it shows how in his community people of color were separated from the whites because of there skin color or what people thought of there economic status there. I included the tower of books because he loved to write.

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This art piece was based on segregation in the community. On the left side, I painted rundown apartment buildings representing the African American people's poor living conditions during this time. The people of color were forced to live in buildings falling apart. On the right side, I choose to paint a white family buying a nice new house. The white people in this time had access to new neighborhoods with new homes. They also lived away from the city into the suburbs, where they had more space.

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If people know me at all, most know me as the first African American to serve in a president’s cabinet. I was the secretary of housing and urban development in the mid-1960s, appointed by President Lyndon B. Johnson. Long before that, though, I wrote a book titled The Negro Ghetto, documenting how government policies — not just individual choices — segregated the nation. One thing I spent a lot of effort and space to prove in my book is that property values do not fall when Black people move into a previously all-white  neighborhood.  This  was  an  argument  often  made  by  banks  and  government  agencies  for  not  giving loans to Black people — they said such loans were too risky. But I showed that property values fall when  banks  offer  low-cost  mortgages  to  white  people  who  leave  an  integrated  neighborhood,  refusing  those same kind of loans to Black people. Because Black homeowners are denied loans from banks or the government, they have less expendable income for the inevitable home repairs — a leaky roof, a broken window, a busted pipe — or for the kind of remodeling that increases property values. So it’s no wonder that many Black neighborhoods often have deteriorating housing stock. In the United States, money follows white people. And when white folks packed up and moved from integrated urban neighborhoods to the segregated suburbs, the money went with them.

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Painting by Maia Block, inspired by Catherine Bauer Wurster's story

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Painting by Maia Block, inspired by Catherine Bauer Wurster's story

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I chose to include the imagery of the steel bars and the strong grip the girl has on them. I did this because is my story, Catherine Bauer Wurster ships all African Americans from their homes to a new unfamiliar place to keep them all in one place. They were then trapped there, away from the outside world and almost like zoo animals for other people to watch.

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I am a white housing expert and advisor to the U.S. Housing Authority (USHA), a government agency that helps manage and finance housing. USHA gives grants to local governments so they can build public housing. In the late 1930s, I helped write the manual for local governments to follow when building hous-ing. If local governments wanted money from the federal government, they had to follow our manual. In it I wrote, “in areas now occupied by Negroes . . . the aim of the [local housing] authority should be the preservation rather than the disruption of community social structures. . . .” In other words, we encour-aged local governments not to pursue any integrated housing; in fact, we wouldn’t grant them money if they did. This policy sometimes resulted in the tearing down of important Black landmarks. For example, in Austin, Texas, the city tore down Emancipation Park, the site of an annual festival to commemorate the abolition of slavery, to make way for Rosewood Courts public housing. There was other vacant land available, but it was in a white area of town, and according to the USHA manual, new housing for Black people  would  be  a  “disruption  of  community  social  structures.”  Once  we  helped  the  city  locate  public  housing for Black people in this Black neighborhood, the city of Austin forced African Americans every-where in the city to move to this neighborhood, isolating them from the rest of the city. For example, the schools were segregated in Austin at the time, so the city closed schools for Black children elsewhere in the city and built new ones near the housing project, so any Black families who wanted their children to get an education would have to move to housing near the Black public housing project.

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Painting by Lily Sylvester, inspired by Frederick Ecker's story

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Painting by Lily Sylvester, inspired by Frederick Ecker's story

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I took inspiration from my person’s story, specifically that he wrote a report that the federal government published about zoning laws and deed restrictions to prevent property sales to African Americans. I decided to arrange my composition so that you see the houses with red shades are the multi-family residential homes that couldn't be placed near the single-family residential homes.

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I  am  the  president  of  Metropolitan  Life  Insurance  Company.  I  am  white.  I  was  one  of  the  experts  that  President Herbert Hoover called upon to lead the President’s Conference on Home Building and Home Ownership in 1931. I wrote a report that the federal government published and promoted about how to use  zoning  laws  and  deed  restrictions  to  prevent  property  sales  to  African  Americans.  First,  I  suggested  making  zoning  rules  that  would  require  structures  zoned  “multifamily  residential”  (apartments)  to  be  in  parts  of  town  far  away  from  neighborhoods  that  were  zoned  as  “single-family  residential”  (houses).  Second,  I  suggested  using  racially  restrictive  deeds  to  keep  Black  homeowners  from  buying  into  neigh-borhoods that were zoned as “single-family residential.” A deed is a legal document held by the owner of a property that is transferred to a new owner when the property is sold. I advocated deeds that prohibited sales of the property to Black (and sometimes Chinese, Mexican, and Jewish) buyers. The deeds helped prevent Black people from buying homes; the zoning made sure the apartments that they would be forced to rent would be far away from white homeowners. Of course, enforcement is key. When New York City subsidized my company, MetLife, to build the community of Parkchester in New York for whites only, and one resident made the mistake of renting to a Black family, I swiftly evicted the family.

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Painting by Lindsay Donovan, inspired by Frank Stevenson

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Painting by Lindsay Donovan, inspired by Frank Stevenson

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Reading Frank Stevenson's story, the prominent theme was black workers not being able to have house provided, but white workers did. I used houses to represent arrows, with the lighter toned down colors facing up representing white peoples side. I did the opposite with the dark toned down blue facing down, showing that black people at the time did not have the same housing opportunities as white people. I decided to use both sides of toned down colors to put in the middle to really represent the division of the two races.

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I was born in Louisiana in 1924 and moved to California during World War II for work. I got a job at a Ford plant that the federal government had ordered to produce Jeeps and tanks. The federal government built public housing to accommodate the new wartime workers flooding into U.S. cities, but insisted it be segregated. Not only that, they did not build enough housing for Black workers. I was forced to rent a room more than an hour away from my work. I bought a van, recruited eight other Black workers to share the cost, and made the long drive every day for the next 20 years. When the government later insured a big loan to a private real estate developer to build 700 houses in a new suburb near the factory, the government said that none of those homes could be sold to African Americans. I was earning steady, good wages at Ford, but I could not buy a home, nor would the government provide me a loan to build my own home, like it was doing for white workers. Finally, in 1970, I was able to buy my first house. Whites who worked with me in the Ford factory had bought homes 30 years before, which they now owned outright. Since I had to rent all those years, I didn’t have any wealth. Even though we had worked the same jobs, they had built up enormous equity, while I was just getting my first mortgage.

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The main theme I saw through Norris Vitchek's story was the importance of Realestate to him. Hence, I chose to fill the background with houses. I really wanted Norris to stand out against the background of blue houses so I used opposite color of blue to represent him; orange.

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Well, that’s not my real name, but that is the pseudonym I used when I talked to the press about my role as a real estate “flipper” in blockbusting. Blockbusting is a scheme where unethical realtors make big money by flipping houses. First, they buy up property in neighborhoods that are just starting to integrate or in a white neighborhood next to a Black one. Second, they recruit Black families to purchase or rent houses in the area. With so few housing options for Black families due to racist restrictions on where they could live, these folks are often willing to pay much more than white families. Third, and this is where I come in, the realtor persuades the white families that the neighborhood — and the property value of their home — is about to go downhill and fast. We used all kinds of tricks to panic white folks. I hired African American women to push carriages with babies through white neighborhoods and African American men to drive cars down white streets with radios blasting. A couple of times, I even organized fake house burglaries to make it seem like crime was on the increase. Once white people were convinced their neighborhood was being “overrun,” the realtors would pounce, offering to buy the white people’s homes quickly for less than they were worth. Convinced by our lies that property values were on the verge of plummeting, they would sell.  The  final  step  in  this  process  was  to  “flip”  the  house  for  a  massive  profit  by  selling  it  to  an  African  American family at a hugely inflated price.

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I choose to include the imagery of the factory Walter worked in catching flames and burning down.

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J. C. Nichols inspired painting by Brian Lannon

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J. C. Nichols inspired painting by Brian Lannon

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I choose to include the imagery of new housing up on a hill and a neighborhood in the distance.  Nichols was a construction developer and he participated in creating segregated housing to make more money in his developments.  When choosing my colors, I decided to choose green as it represents greed and works well with the landscape, and shades or red as it represents love and hate.

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Fredrick Ecker strongly supported segregation, and passed a bill making it near impossible for an African American familty to get a house in the suburbs.

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I choose to include the imagry of the magnifying glass, because this was a big part of her story. This has many tone and lighten up colors. This piece was probably my favorite to make and y best work. I definently recommend doing this again.

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I chose to include the imagery of the bank Gerald Cohn got his loan at, because this was a big part of his story. He got his loan here, and when the bank found out he was housing a black man, they took his loan away. The FHA loan at the top was taken away which is why I included the FHA with a cross out.

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A white Democratic politician from Kentucky, I was the only woman on the National Advisory Commission on Civil Disorders (known as the Kerner Commission). In the summer of 1967 there were rebellions in Black and Latino neighborhoods in cities across the nation — Detroit, Los Angeles, Newark, Chicago, and others. President Lyndon B. Johnson asked us to investigate the causes of these rebellions, which were usually called “riots” in the media. After a seven-month investigation, our commission concluded that the rebellions were caused by a lack of economic opportunity for Black Americans. In particular, we blamed federal and state governments for failed housing, education, and social service policies that created new forms of segregation — and made already existing forms of segregation worse. We wrote: “White society is deeply implicated in the ghetto. White institutions created it, white institutions maintain it, and white society condones it.” Some people have questioned why the U.S. government poured so much energy into investigating Black uprisingbut never carried out any investigation of white-led riots, like the campaigns of terror (sometimes called move-in violence) against African Americans seeking to move into all white neighborhoods and suburbs.
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Taking the time to create this painting allowed me to think about David Bohannon’s story over a few weeks and now looking at my final composition and re-reading his story, I notice that the government had a very large impact of house segregation. Bohannon was a Realestate Agent, and was assigned to only sell houses to white people. The government gave him this task, it wasn't his choice.

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I chose the colors green and red for my painting because when Clyde got out of the military he was looking for a house and a loan to buy it. Unfortunately the house he found in his price range was in a redlined community so he wasn't able to buy it with a loan.