#DAR Constitution Hall

[cartermagazine]

Today In History

Marian Anderson, one of the finest contraltos of her time, was born in Philadelphia, PA, on this date February 27, 1902.

Anderson performed with renowned orchestras in major concert and recital venues throughout the United States and Europe between 1925 and 1965.

She was an important figure in the struggle for African American artists to overcome racial prejudice in the United States during the mid-twentieth century.

In 1939 during the era of racial segregation, the Daughters of the American Revolution (DAR) refused to allow Anderson to sing to an integrated audience in Constitution Hall in Washington, D.C. The incident placed Anderson in the spotlight of the international community on a level unusual for a classical musician. With the aid of First Lady Eleanor Roosevelt and her husband President Franklin D. Roosevelt, Anderson performed a critically acclaimed open-air concert on Easter Sunday, April 9, 1939, on the Lincoln Memorial steps in the capital. She sang before an integrated crowd of more than 75,000 people and a radio audience in the millions.

The range of talent we display, and the obstacles we as a people have to overcome-there’s no comparison.

CARTER™️ Magazine

[justinspoliticalcorner]

Olivia Little at MMFA:

Scandal, school board election failures, and a disastrous 60 Minutes interview appear to have diminished Moms for Liberty’s once powerful influence, and last weekend’s summit provided plenty of additional evidence that the group is currently flailing.  Nearly every Republican presidential hopeful and a number of right-wing giants spoke at Moms for Liberty’s lively summit last year. But this year’s gathering was comparatively small, with far fewer panels and a weaker speaker lineup. In fact, Glenn Beck and D-list comedian Rob Schneider were advertised as the star headliners until the exceptionally late addition of former President Donald Trump just days before the event.  This is the second year that my colleague Madeline Peltz and I attended Moms for Liberty’s summit. It was immediately apparent to us that the small crowd had seemingly been reduced to largely die-hard members who, unlike many, remained loyal to Moms for Liberty through its year of scandal and failure. Co-founder Tina Descovich acknowledged that the organization was losing some support while presenting an award, saying, “You have been a friend to Moms for Liberty when some have stepped away.”

[...]

Invoking transgender panic

Much of the conference was spent attempting to terrify parents into believing that schools are secretly grooming, manipulating, and transitioning students. The bag handed to us at registration included an illustrated flyer laying out the ridiculous “school to clinic pipeline,” which, according to the flyer, begins at “pronouns” and ends in a hospital. Almost every speaker we listened to incorporated transgender panic into their speech. One panel was even titled “Protecting Kids from Secret Gender Transitions in Schools.” 

[...]

Spiritual warfare is anything you want it to be

“This is spiritual warfare,” said far-right political commentator Sebastian Gorka at Friday’s lunch session, “and they are on the side of the devil.” Speakers repeated vague accusations of “spiritual warfare” throughout the weekend. Even comedian-turned-conservative-activist Rob Schneider accused the pharmaceutical industry of engaging in spiritual warfare.  [...] The summit’s itinerary included the March for Kids, an event promoting parental rights with coalition partners such as Gays Against Groomers and PragerU. (It’s worth noting that the March for Kids wasn’t actually a march, but a largely empty assembly at DAR Constitution Hall.) March for Kids speaker Naomi Van Wyk used the rhetoric of spiritual warfare to describe homosexuality and encouraged intervention to alter same-sex attraction, promoting a form of conversion therapy. 

[...] The Heritage Foundation was one of the earliest supporters of Moms for Liberty and, in turn, the group fell in line with Heritage’s policy priorities and shepherded members toward the think tank’s “resources for parents.” In 2022, Moms for Liberty was the recipient of Heritage’s Salvatori Prize for American Citizenship and Heritage President Kevin Roberts spoke at the group’s 2023 summit. In a breakout session last year, anti-trans activist “Billboard Chris” Elston revealed that The Heritage Foundation had identified and brought together 40 people, including him, in March 2022 to “fight gender ideology.” 

Olivia Little of Media Matters For America went to the 2024 Joyful Warriors National Summit hosted by right-wing extremist “parental rights” group Moms For Liberty.

Little revealed that M4L’s influence has waned over the past year or so.

[womeninfictionandirl]

Marian Anderson by Allison Adams

Marian Anderson (1897 – 1993) was an African American contralto and one of the most celebrated singers of the twentieth century. Though she travelled in Europe as a celebrity, on her travels through the United States, Marian experienced racial prejudice on a daily basis; she was often denied access to lodging or dining facilities. When the Daughters of the American Revolution (DAR) refused to allow Marian as a black woman to sing in Constitution Hall in Washington D.C., Eleanor Roosevelt resigned from the organization in protest. Later, at the invitation of the Secretary of the Interior, Marian sang at the Lincoln Memorial for Easter Sunday, April 9, 1939, for an audience of 75,000. Later on, she became the first African-American to perform as a regular member of the New York Metropolitan Opera. As well as traveling extensively as a singer for diplomatic events, she sang at two presidential inaugurations, and won numerous honors and awards throughout her life.

[alleannaharris]

Today's Black History Month illustration is of the classical singer Marian Anderson, whose 1939 performance at the Lincoln Memorial raised awareness of racial discrimination.

Anderson was born in 1897 in South Philadelphia. When she was 6 years old, she became a member of the choir at Union Baptist Church, where people called her “Baby Contralto.” Her father, John, was a coal and ice dealer at Reading Terminal Market , and when Anderson was 8, her father bought her a piano. Her family couldn’t afford lessons, so she taught herself.

Anderson’s father passed away when she was 12, so her mother, Anna, had to raise her and her two sisters. Despite her father’s death, Anderson continued to stay committed to church and choir. Her commitment and skills impressed her choir so much that the church worked together to raise enough money to pay for her to train under a respected voice teacher, Giuseppe Boghetti.

In 1928, she performed at Carnegie Hall and thanks to a Julius Rosenwald scholarship, went on tour through Europe. By the late 1930s, Marian Anderson was famous in US and Europe. In 1936, President Roosevelt and Eleanor invited Anderson to perform at the White House. She was the first Black person to receive this honor.

She had been scheduled to sing at Washington's Constitution Hall, but the Daughters of the American Revolution (who managed the hall) refused to let her sing because she was Black. In response, Eleanor Roosevelt resigned from the DAR, and President Roosevelt gave permission for a concert at the Lincoln Memorial. On Easter Sunday, Anderson performed "My Country, 'Tis of Thee" to an audience of 75,000 people and a NBC radio audience of millions.

In 1941, she won the Edward Bok Award for distinguished service to the city of Philadelphia. And in 1955, she became the first African American to perform at the Metropolitan Opera.

In 1961, Anderson performed the national anthem at JFK’s inauguration. In 1963, JFK honored her with the Presidential Medal of Freedom.

Anderson retired from performing in 1965, but she was honored with the Grammy Award for Lifetime Achievement in 1991.

I’ll be back tomorrow with another illustration and story!

[marendaily]

2024 Gershwin Prize for Popular Song presentation to Elton John and Bernie Taupin by the Library of Congress at DAR Constitution Hall in Washington, DC - March 20, 2024

[valkyries-things]

MARIAN ANDERSON // SINGER

“She became the first African American woman to perform at the Metropolitan Opera in New York. She was an American singer of classical music and spirituals, and a very important figure in the struggle of black artists to overcome racial prejudice. In 1939, the Daughters of the American Revolution (the DAR) barred her from singing in Constitution Hall in Washington D.C, because they only allowed white artists. The then First Lady Eleanor Roosevelt was furious. She resigned from the DAR and helped arrange for Anderson to sing on the steps of the Lincoln Memorial. More than 75,000 people showed up to hear.”

[dk-thrive]

I think I heard divine intervention

Do people still see God’s face in their oatmeal or do we only worship money now? Either way, as corny and impossible as it might be, I wish I could reach out from these keystrokes, set my hands on your shoulders, gaze deep into your retinas and tell you that when Joni Mitchell sang George Gershwin’s “Summertime” at DAR Constitution Hall earlier this month, something like God entered in the room.

The circumstances were strange. Mitchell was in Washington to accept the Library of Congress Gershwin Prize for Popular Song, and in the moment I’m describing, to headline at a tribute concert being filmed by PBS. Accepting her award in a satiny frock the color of the ocean and a beret the color of gold bullion, the 79-year-old colossus of song seemed a little out of sorts. Was it the implicit awkwardness of a televised exaltation or something worse? Mitchell suffered a brain aneurysm in 2015 that left her unable to speak or walk, and has since made an astonishing recovery, but as she sidled up next to the grand piano, the room held its breath.

Then, clutching a shiny golden microphone in her right hand, she exhaled that opening verse, her phrasing patient and exact, her tone heavy with color and feeling. “Hush little baby,” she sang with a finesse that can only be measured in metric tons. “Don’t cry, don’t cry.”

Failing to connect those words to the sopping wetness that had instantaneously materialized on my face, Mitchell was halfway through the song before I noticed that my lungs had also chosen to relocate to my throat, which technically qualifies as an out-of-body experience, which is where the whole God thing comes in. Cumulatively, this moment felt greater than life, greater than everyone in the room, maybe even greater than Joni Mitchell, unless she’s God, which I suppose is no longer out of the question.

Normally, I’d worry about sounding hyperbolic here (greatness feels cheap in the social media age), or even worse, sentimental (hooray for a fragile older person doing an incredibly powerful thing), but I’ve been too busy spending the past few weeks trying to figure out how a song so delicate managed to collide into my sensorium with such annihilating, tidal force. Maybe the secret of Mitchell’s entire songbook is tucked away in that paradox — all of those drumless ballads from “Clouds” and “Blue” crashing against our collective consciousness like rogue waves. Maybe we can trace it all back to Mitchell’s lifelong affinity for dancing. There’s a tremendous amount of movement in her music, even when the gestures feel stark and the mood feels serene.

And then there’s all of Mitchell’s unambiguous greatness: Her singular ability as a songwriter to speak to our experiences and imaginations through characters we may or may not know (Carey, Edith and the Kingpin) and settings we may or may not have visited (the autonomous Champs-Élysées, ex-paradise parking lots). Singing about all of this stuff with the intricacy and insistence of a pen scratching paper, she matches unexpected words with unexpected melodies, simultaneously possessing them in ways that feel deeply inventive and allergic to cliche.

But how all of this felt so abundantly clear as Mitchell gently moved another songwriter’s words around in time, as if placing them into their most perfect position, I’m still not sure about. Something profound, and complete, and deeply life-affirming had suddenly sprung into reality, and it was hard to understand exactly how or why.

“You had to be there” is a cruel phrase, isn’t it? We’re a storytelling species, and we spend our lives trying to share “there” with those who weren’t. We search for it in novels and “How was your day?” at dinnertime. But on a Joni Mitchell album, “there” feels like “here.” The visceral experience of hearing her most vivid songs always seems to supersede the detailed stories they’re recounting.

This is all to say that you can watch Mitchell sing “Summertime” in full on television tonight, and while I can’t promise God will visit your living room, try listening with all of your being and see who shows up.

—  Chris Richards, from "Joni Mitchell sang Gershwin. I think I heard divine intervention" in The Washington Post · by Chris Richards · March 31, 2023

[thedigitalcrates]

The Show Must Go On: Elton John Expects Busy Fall Season Amid Eye Injury

Librarian of Congress Carla Hayden awards the 2024 Gershwin Prize for Popular Song to Elton John and Bernie Taupin during a tribute concert at DAR Constitution Hall in Washington, D.C., March 20, 2024. Photo by Shawn Miller/Library of Congress.   Even at 77 years old, singer Elton John remains one of the most booked and busy performers on the planet.  As 2024 nearly wraps up, the icon has been…

[whitneyfanclublog]

In 1997, Whitney performed two special shows called 'Classic Whitney' on Oct 3 and Oct 5 in Washington, D.C., at DAR Constitution Hall. The second show was broadcast live on HBO. Whitney dedicated her performance to famed opera singer Marian Anderson who had tried to perform at the venue in 1939 but was turned down because of her race. Whitney donated ticket sale proceeds to the Children’s Defense Fund (more than $300,000).

[ufamsetobije]

Det bästa tal som någonsin hållitsPASSIONSVECKANS TRÖST MED JS BACHAtt gå in i passionsveckan i en plågad värld. Låt detta gripande framförande av JS Bachs aria "Have mercy" av Marian Anderson och bilderna från hennes framträdande på Lincoln Memorial 1939 beröra ditt hjärta och hjärtat av denna värld.ALMUT FURCHERTDEN 24 MAR, 20242782Aktie"Erbarme dich, mein Gott" (Förbarma dig, min Gud) från Matteuspassionen1 Till minne av Marian Anderson (1897-1993)Detta är den första av våra Passionsveckans tröst 2024. Om du vill resa med oss och få våra dagliga tröstmeddelanden i din inkorg, se till att du har valt den betalda prenumerationsnivån. Om du behöver ett stipendium för denna resa, eller vill skicka ditt erbjudande på ett annat sätt, vänligen svara på detta e-postmeddelande så kommer jag att kompa dig så fort som möjligt. Du kan också hantera din prenumeration här. Kära medpilgrim,Jag har alltid älskat JS Bachs aria "Erbarme Dich" ur hans Matteuspassion, och jag har hört många gripande tolkningar genom åren, en del när jag själv sjöng i Bachkören på Münchenfilharmonikerna.Men när jag stötte på den här tolkningen av Marian Anderson för nästan åtta decennier sedan brast mitt hjärta. Smärtan av att under ett helt år ha sett den här världen gå djupare och djupare ner i krig och splittring och apokalyptiska nyheter, strömmade ut genom mina tårar. Det blev genast tydligt att jag måste dela detta spöklika stycke med dig. Måste be er att stanna upp och lyssna och låta ert hjärta beröras, så att vi kan förflytta denna plågade värld tillsammans. Måste be er att dela den med en annan själ som kommer att dela den med en annan själ så att vi alla tillsammans kan förenas i en gemensam klagosång som ropar på Gudomlig barmhärtighet för vår plågade värld och våra plågade hjärtan. Så innan vi skalar av de många lagren av berättelsen (viss kontext ges också i själva videon) inbjuder jag dig att ta 8 minuter av din dag idag och fördjupa dig i komplexiteten och skönheten i denna föreställning, i lagren av personlig och nationell historia, och bärandet av smärta och vaktande av hopp som delats genom århundradena. Lyssna med hjärtat, om du kan. Var inte rädd för dina tårar. Vi kommer att torka dem senare. Erbarme dich, mein Gott, um meiner Zähren willen! Schaue hier, Herz und Auge weint vor dir bitterlich. **Förbarma dig, Min Gud, för mina tårars skull; Se hit, hjärta och ögon gråta bittert inför dig .AktieSkalar av lagrenBachs aria "Erbarme Dich" i hans Matteuspassion är förmodligen den mest kända och älskade av ariorna. I repetitiva rörelser lutar sig sångerskan mot sitt värkande hjärta och behovet av gudomlig barmhärtighet, med stöd av några gamla instrument som härmar hjärtats gråt. Med sin passion har JS Bach skapat en storslagen klagosång. Hans musik erbjuder oss en behållare för våra sorger och förför oss till vacker klagosång. Att delta i denna orkestrerade sorgeupplevelse kan vara självlugnande och en strategi för motståndskraft inför tragedier. Den berömda alten Marian Anderson föddes i Philadelphia den 27 februari 1897 och beskrevs av den berömde italienske dirigenten Arturo Toscanini som en röst som dyker upp "en gång på hundra år". Den 9 april 1939 uppträdde Marian Anderson framför Lincoln Memorial eftersom hon nekades tillträde till Constitutional Hall av Daughters of the American Revolution (DAR) på grund av sin ras. First Lady Eleanor Roosevelt var medlem i DAR. Upprörd över deras beslut avgick hon som bekant från organisationen. Denna uppmärksammade kontrovers ledde till en inbjudan, sponsrad av hundratals av Washingtons elit, att sjunga på trappan till Lincoln Memorial.En folkmassa på mer än 75 000 människor kom ut för att höra och stödja henne, som sändes live till miljontals fler.21939 was a year of turning and foreboding around the world. It was the year when Europe fell into the most ugly and unforgiving war of the last century. It was still the height of the brutal Jim Crow South and the Great Migration of black people away from the oppression in the South on the American continent.Denna passionshistoria är historien om rasdiskriminering som nekade en skicklig musiker hennes scen, förlöst av det heroiska motståndet från ledare och en tyst publik på 75 000 människor i hjärtat av nationen.Jeffrey Stevers, som skapade denna kusliga version av konsertbilderna från 1939 tillsammans med inspelningen av Bachs aria från 1946, "satte både artisten och frågan om rasdiskriminering i det nationella rampljuset."Marian Anderson var den första afroamerikanska sångerskan att uppträda i Vita huset och den första afroamerikanen att sjunga med New Yorks Metropolitan Opera.Hon sjöng vid invigningarna av Dwight D. Eisenhower och John F. Kennedy. År 1957 reste hon runt i Indien och Fjärran Östern som goodwillambassadör genom USA:s utrikesdepartement.Anderson har fått många utmärkelser och utmärkelser och tilldelades Presidential Medal of Freedom 1963, Congressional Gold Medal 1977, Kennedy Center Honors 1978, National Medal of Arts 1986 och en Grammy Lifetime Achievement Award 1991. Prenumerera på Passionsveckans tröstKlagan och modJag har alltid trott att om vi ändrar ett hjärta kommer vi att förändra vår värld. Och att börja med mitt eget hjärta är det svåraste stället att börja på.Världen förändrades inte omedelbart efter denna otroliga konsert 1939 som berörde USA och världen, inte heller inspelningen av Bachs aria 1946. Och ändå har modet fått fäste och förändring har förts till mångas hjärtan.Och så var det modet hos First Lady Eleanor Roosevelt. Hon var medlem i DAR. Upprörd över deras beslut att neka Anderson tillträde till konserthuset på grund av hennes ras, avgick hon som bekant från organisationen.Att förändra ett hjärta, kära människor, är fortfarande det som förändrar världen. Genom att förändra hjärtat hos den person som säger "nu får det vara nog", jag står inte ut med det längre, jag måste hålla fast vid det som är humant och det som är sant.Passionshistorien är inte en berättelse om makt och makt. Den lär inte ut storhet utan ödmjukhet. Den ställer inte ras mot ras, religion mot religion eller höger mot vänster.Korsets väg leder oss till att luta oss mot barmhärtighet, inte makt."Förbarma dig, min Gud, för mina tårars skull; Se hit, hjärta och ögon gråta bittert inför dig."En välsignelse för din passionsresaWorried, sorrowful, hopeful, let us now come as we are and walk together holding our sorrows and the sorrows of this world towards the glimmering Easter light of renewed life. And may Divine mercy walk among us.With love, AlmutPS: Leave a heart or a phrase, a word, or a line which resonated with you in the comments section so we know you have been here. 🙏Leave a commentFor the subscribers of our Passion JourneyKära medpilgrimer, tack för att ni är här, för att ni upprätthåller denna resa och för att ni litar på mig under denna Stilla vecka. Morgondagens inlägg kommer att samla oss för vår pilgrimsfärd i en mer intim miljö av betalda prenumeranter (så här uppgraderar du) eftersom vi kommer att låta vårt hjärta följa veckans rörelse och Bachs passionsoratorium. Allt du behöver ta med dig är ett fönster av ostörd tid under hela dagen (20 minuter rekommenderas) och ett öppet hjärta. En del reserverar också en längre tid på påskafton som en privat retreat för att läsa eller läsa om var och en av våra dagliga tröster.Om du är en betald prenumerant men inte vill få dagliga e-postmeddelanden från passionsveckan kan du stänga av dem här.Om du är i behov av ett stipendium för att delta eller vill skicka ditt erbjudande på ett annat sätt, vänligen svara på detta e-postmeddelande så kommer jag att kompa dig så fort som möjligt.Prenumerera på Passionsveckans tröstOm AlmutAlmut FurchertPsych. är en tysk-amerikansk forskare och praktiker, en psykolog som blev filosof och blev författare, resenär, fotograf, retreatledare och mamma till ett förskolebarn. Hon har undervisat och publicerat om författare som Kierkegaard, Buber, Frankl, Yalom, Edith Stein och Hildegard av Bingen. Almut är också benediktinoblat och bor med sin familj i en liten universitetsstad i övre mellanvästern.1BWV 244 av Johann Sebastian Bach (1685-1750) Marian Anderson, alt Joseph Fuchs, soloviolin RCA Victor Chamber Orchestra Robert Shaw, dirigent Inspelad juni 1946

[orleff]

Metallica споделиха пълното видео с кавъра на "Funeral For A Friend/Love Lies Bleeding" на Elton John

[cartermagazine]

Today In History Marian Anderson, one of the finest contraltos of her time, was born in Philadelphia, PA, on this date February 27, 1902. Anderson performed with renowned orchestras in major concert and recital venues throughout the United States and Europe between 1925 and 1965. She was an important figure in the struggle for African-American artists to overcome racial prejudice in the United States during the mid-twentieth century. In 1939 during the era of racial segregation, the Daughters of the American Revolution (DAR) refused to allow Anderson to sing to an integrated audience in Constitution Hall in Washington, D.C. The incident placed Anderson in the spotlight of the international community on a level unusual for a classical musician. With the aid of First Lady Eleanor Roosevelt and her husband President Franklin D. Roosevelt, Anderson performed a critically acclaimed open-air concert on Easter Sunday, April 9, 1939, on the Lincoln Memorial steps in the capital. She sang before an integrated crowd of more than 75,000 people and a radio audience in the millions. CARTER™️ Magazine carter-mag.com #wherehistoryandhiphopmeet #historyandhiphop365 #cartermagazine #carter #mariananderson #blackhistorymonth #blackhistory #history #staywoke https://www.instagram.com/p/CpKptcILh4I/?igshid=NGJjMDIxMWI=

[americanahighways]

Show Review: John Mellencamp at DAR Constitution Hall

Show Review: John Mellencamp at DAR Constitution Hall @johnmellencamp @glenncookphotography @darconstitutionhall @americanahighways #americanamusic #americanahighways #livemusicphotography #concertphotography #heartlandrock

[abwwia]

Marian Anderson, contralto, was denied the right to perform at Constitution Hall by the DAR because of her color. Instead, and at the urging of Eleanor Roosevelt, Harold Ickes permitted her to perform at the Lincoln Memorial on April 9, 1939.

[marendaily]

2024 Gershwin Prize for Popular Song presentation to Elton John and Bernie Taupin by the Library of Congress at DAR Constitution Hall in Washington, DC - March 20, 2024