Marian Anderson was born in Philadelphia in 1897, the daughter of a coal and ice dealer who himself was the son of an emancipated slave, and a mother who had some college but never graduated and thus earned extra money caring for small children. Devout Christians, Marian's parents discovered their eldest daughter was an exceptionally talented vocalist when she started singing in the junior choir of the Union Baptist Church at the age of six. In fact, the whole church was impressed, impressed enough that when her father died from a head injury when she was 12, leaving the family without much in the way of disposable income, the whole congregation raised enough money for Marian to train with a succession of musical teachers. Eventually, Marian came to the attention of the acclaimed music teacher Giuseppe Boghetti, whose students included soon-to-be acclaimed opera singers Jan Peerce and Helen Traubel. An even bigger break came when Marian won a singing competition sponsored by the New York Philharmonic and got to perform with the orchestra, a performance that finally won her acclaim from critics and audiences alike. In 1928, she gave her first performance in Carnegie Hall. A highly successful European tour followed. Then a successful one right here in the United States, followed by several more successful tours both here and abroad. The acclaimed conductor Arturo Toscanini told the now-acclaimed granddaughter of a slave that she had a voice "heard once in 100 years."
Only in America.
Given all the acclaim, you'd think Marian could sidestep the racist attitudes of the 1930s. She couldn't. Like other black performers, no matter how popular, she was turned away by some hotels and restaurants. In fact, she ultimately couldn't even sidestep the venue in which she had earned all her acclaim and popularity: the concert hall. Starting in 1930 and up until the opening of The Kennedy Center of the Performing Arts in 1971, Constitutional Hall was Washington D.C.'s principal showcase for touring classical music soloists and orchestras, as well as the home to the National Symphony Orchestra. Sounds like a perfect fit for the once-in-a-hundred-years contralto. Except the Hall was owned and operated by the Daughters of the American Revolution, which at the time had a Whites Only policy. Even if there hadn't been such a policy, Marian couldn't have performed there, as there weren't separate White and Black rest rooms as dictated by District of Columbia law. You see, back then the nation's capital was a segregated capital. Home rule was still many years away, Congress called the shots, and that Congress had its share of Southern Democrats who wanted to enjoy the same benefits of Jim Crow law that they enjoyed in their districts back home. As for those congressmen from outside the South, they didn't seem all that bothered by the segregation, either.
Only in America.
The DAR refusal did not go unnoticed. Members of the NAACP, the National Negro Congress, the Brotherhood of Sleeping Car Porters, and the American Federation of Labor formed the Marian Anderson Citizens Committee. Finally, some Northern Democrats decided to take action, most prominent among them Eleanor Roosevelt, the nation's First Lady, herself a DAR member, until she decided to resign in protest. Roosevelt persuaded her husband Franklin to persuade Secretary of the Interior Harold Ickes to allow Marian Anderson to give an open-air concert on the steps of the Lincoln Memorial on April 9, 1939, Easter Sunday.
Only in America.
Watch:
Well, that was then, and this is now. Under the present circumstances, you'd think they let a black woman, no matter how acclaimed, sing on the steps of the Lincoln Memorial? Nah. Too DEI. As for the song she sung in the above clip, might the line "sweet land of liberty" also soon come to be seen as too DEI?
Only time, in America, will tell.
