"search throughout New York, New Jersey and Connecticut. Through the years Fisher built many outbuildings on the property, including an acoustic rehearsal studio he designed for his wife. The property remained Anderson's home for almost 50 years. On January 7, 1955, Anderson became the first African-American to perform with the Metropolitan Opera in New York. On that occasion, she sang the part of Ulrica in Giuseppe Verdi's ""Un ballo in maschera"" (opposite Zinka Milanov, then Herva Nelli, as Amelia) at the invitation of director Rudolf Bing. Anderson said later about the evening, ""The curtain rose on the second scene and"
"amongst performers and audiences as ""the place"" for a performer to make a New York debut. In 1928, The Hall began producing regular musical concert series, and over the next few seasons, ""The Town Hall Endowment Series"" featured artists including Sergei Rachmaninoff, Ignacy Jan Paderewski, Lily Pons, Feodor Chaliapin, Yehudi Menuhin, and many more legends of the classical Western repertoire. Marian Anderson, considered one of the greatest contraltos ever born in the United States, made her New York debut at the Hall on December 30, 1935, after she had been denied an opportunity at an operatic career elsewhere due to"
"Lincoln Theatre (Harlem) The Lincoln Theatre is a theater located on 135th Street near Lenox Avenue in Harlem, New York City. It opened in 1915 and was the first theater in a then predominantly white neighborhood in Harlem to cater to black audiences. The theater reached its peak of fame in the 1920s, when entertainers such as Bessie Smith, Florence Mills, and Fats Waller headlined. (Fats Waller had been hired as the organ player of the theater when he was fifteen years old.) The Lincoln Theatre was the only place in New York where Ma Rainey performed. The theater was"
"that she had the voice and the personality for the operatic stage, and the Met itself recognized this by inviting her to sing ""Summertime"" at a ""Met Jamboree"" fund-raiser on April 6, 1953 at the Ritz Theater on Broadway. Price was therefore the first African American to sing ""with"" the Met, if not ""at"" the Met. That distinction went to Marian Anderson, who, on January 7, 1955, sang Ulrica in Verdi's ""Un ballo in maschera"". In November 1954, Price made her recital debut at New York's Town Hall with a program that featured the New York premiere of Samuel Barber's"
"Marian Anderson: The Lincoln Memorial Concert Marian Anderson: The Lincoln Memorial Concert is a 1939 documentary film which documents a concert performance by African American opera singer Marian Anderson after the Daughters of the American Revolution (DAR) had her barred from singing in Washington D.C.'s Constitution Hall because she was black. Officials of the District of Columbia also barred her from performing in the auditorium of a white public high school. First Lady Eleanor Roosevelt helped hold the concert at Lincoln Memorial, on federal property. The Easter Sunday, April 9, 1939, performance was attended by 75,000. In 2001, this documentary"
"the steps of the Lincoln Memorial, which was considered a milestone in the civil rights movement. She had originally wanted to sing at Washington D.C.'s largest venue, Constitution Hall, but The Daughters of the American Revolution barred her from performing there because of her race. Due to this, Eleanor Roosevelt, who was then the First Lady, resigned from the organization. This stands as one of the first actions taken by someone in the White House to address the era's racial inequality. Anderson performed at the White House three years prior in 1936, making her the first African-American performer to do"
"Revolution barred her from singing at Constitution Hall due to the color of her skin. Marian Anderson, who was born in 1897, was described as having ""a voice heard once in a hundred years."" Yet in 1939, she was denied the right to perform in Washington, DC's Constitution Hall due to the color of her skin. Through the efforts of Anderson, the NAACP, First Lady Eleanor Roosevelt, and Interior Secretary Harold Ickes, arrangements were made to hold the concert on the steps of the Lincoln Memorial. On April 12, 2009, seventy years after Anderson set the stage for the modern"
"1910, approximately 300 black musicians were members in the roughly 8,000-member union. It was located at 209 East 85th Street in Manhattan, New York City, between Second Avenue and Third Avenue, in a building constructed in 1919. The building was later a theater and hall, a casino, and a waiters' union. The basement of the building now houses The Amsterdam Billiard Club. The original facade on 85th Street is still extant. The union lost its charter in 1921. In 1929 the union planned a mass march against joblessness, claiming 35,000 unemployed, but was unable to secure a parade permit from"
"States. She was still denied rooms in certain American hotels and was not allowed to eat in certain American restaurants. Because of this discrimination, Albert Einstein, a champion of racial tolerance, hosted Anderson on many occasions, the first being in 1937 when she was denied a hotel before performing at Princeton University. She last stayed with him months before he died in 1955. In 1939, the Daughters of the American Revolution (DAR) refused permission for Anderson to sing to an integrated audience in their Constitution Hall. At the time, Washington, D.C., was a segregated city and black patrons were upset"
"motion picture industry. In 1943, when Frank Sinatra became a solo act, he made his Los Angeles debut at the Mocambo. On March 15, 1955 Ella Fitzgerald opened at the Mocambo, after Marilyn Monroe lobbied the owner for the booking. The booking was instrumental in Fitzgerald's career. The incident was turned into a play by Bonnie Greer in 2005. It has been widely reported that Fitzgerald was the first Black performer to play the Mocambo, following Monroe's intervention, but this is not true. African-American singers Herb Jeffries, Eartha Kitt, and Joyce Bryant all played the Mocambo in 1953, according to"
"overcome racial prejudice in the United States during the mid-twentieth century. In 1939, the Daughters of the American Revolution (DAR) refused permission for Anderson to sing to an integrated audience in Constitution Hall. With the aid of First Lady Eleanor Roosevelt and her husband Franklin D. Roosevelt, Anderson performed a critically acclaimed open-air concert on Easter Sunday, 9 April 1939, on the steps of the Lincoln Memorial in Washington, D.C. She sang before a crowd of more than 75,000 people and a radio audience in the millions. Anderson continued to break barriers for black artists in the United States, becoming"
"in the late 1950s leading to the campaign preservation spearheaded by Isaac Stern and New York City's purchase of the Hall in 1960 for a sum of $5 million as well as its being declared a National Historic Landmark in 1962. Past exhibits have included: Tchaikovsky, in honor of his trip to New York City for the opening of Carnegie Hall; Marian Anderson, the first African American to sing at the Metropolitan Opera; George and Ira Gershwin, in honor of the centennial of George's birth; and one on Leonard Bernstein, among others. The museum's collection also includes a number of"
"Ellis Auditorium The Ellis Auditorium was a 10,000-seat multi-purpose arena in Memphis, Tennessee, USA. It hosted local sporting events and concerts. The auditorium opened in 1930. The first performance was held by John Philip Sousa. The auditorium was segregated and had a separate entrance and balcony for black patrons, and in 1945 a performance of ""Annie, Get Your Gun"" did not go ahead because the cast included black members. Elvis Presley played Ellis Auditorium on May 15, 1956 to open the Cotton Carnival. Presley also made a number of other appearances at the venue. Other performers who played Ellis included"
"when a theater was established in Samuel Blodgett Jr's Great Hotel on E Street in 1800, soon after the capital was relocated to Washington, D.C. The National Theatre opened in 1835 on E Street, near the White House. DAR Constitution Hall opened in 1929, and remained the city's primary concert hall until the John F. Kennedy Center for the Performing Arts opened in 1971. DAR Constitution Hall, National Theatre, and other venues remained segregated throughout the early part of the 20th century. Contralto Marian Anderson was barred from performing at Constitution Hall in 1939, instead performing at the Lincoln Memorial"
"in Los Angeles, California. Although her earliest obituary was dated as December 27, 1949, later sources state her date of death as December 28, 1949. She is interred in Angelus-Rosedale Cemetery. Anderson’s singing career officially started around 1921 when she performed in Los Angeles, California. From 1922 to 1923, she was brought to New York City by joining a pioneering African-American musical revenue ""Shuffle Along"". By 1924 and 1925, she had already performed in various locations such as Cuba, the Cotton Club in New York City, and Los Angeles with the bands of Paul Howard, Curtis Mosby, and Sonny Clay."
"Casino Theatre (New York City) The Casino Theatre was a Broadway theatre located at 1404 Broadway, at West 39th Street in New York City. Built in 1882, it was a leading presenter of mostly musicals and operettas until it closed in 1930. The theatre was the first in New York to be lit entirely by electricity, popularized the chorus line and introduced white audiences to African-American shows. It originally seated approximately 875 people, however the theatre was enlarged and rebuilt in 1905 after a fire, and then seated 1,300. It hosted a number of long-running comic operas, operettas and musical"
"Quaker meetings ""occasionally"" and supported the Society of Friends financially.) In about 1851, Greenfield began to sing at private parties, debuting at the Buffalo Musical Association. From 1851 to 1853 she toured as managed by Colonel J. H. Wood, a P. T. Barnum-style promoter and supporter of the Fugitive Slave Act of 1850, who would not allow black patrons into her concerts. In 1853, Greenfield debuted at Metropolitan Hall in New York City, which held an audience of 4,000—white patrons only. After the concert, Greenfield apologized to her own people for their exclusion from the performance and gave a concert"
"Roosevelt to perform at the White House. In her newspaper column the next day, Eleanor Roosevelt recalled the event and praised Anderson’s voice and singing career. Marian Anderson was continually prohibited from singing at Constitution Hall because of a “whites only” policy. She was driven to continue trying, not to make a statement about her race, but because she felt she had the right as an artist to perform there. To send a message against the inequality between whites and blacks, a concert at the Lincoln Memorial was arranged for Marian to perform in. She performed in front of a"
"He presided over an era of fine singing and glittering new productions, while guiding the company's move to a new home in Lincoln Center. While many outstanding singers debuted at the Met under Bing's guiding hand, music critics complained of a lack of great conducting during his regime, even though such eminent conductors as Fritz Stiedry, Dimitri Mitropoulos, Erich Leinsdorf, Fritz Reiner, and Karl Böhm appeared frequently in the 1950s and '60s. Among the most significant achievements of Bing's tenure was the opening of the Met's artistic roster to include singers of color. Marian Anderson's historic 1955 debut was followed"
"1936 Sol Hurok, the manager of noted singer Marian Anderson, an African-American contralto, tried to book her at the DAR Constitution Hall. Owing to the ""white performers only"" policy, the DAR refused the booking. In 1939, Hurok, along with the NAACP and Howard University, petitioned the DAR to make an exception to their policy for Anderson, which the organization declined. Hurok tried to find a local high school for a performance, but the only suitable venue was an auditorium at a white high school (the public schools were segregated). The school board refused to allow Anderson to perform there. The"
"and given at Crocheron Park on August 13, 1965, and was attended by over 20,000 people. Due to the increasing number of fans and audience, those in charge had to make use of two baseball fields. Both the audience and musicians braved a steady rain drizzle occurring that very evening. On August 6, 1966. a New York Philharmonic Society orchestra concert was held in Bayside's Crocheron Park with a reception of 40,000 persons. People cheered ""bravos"" for the musicians, for conductor Lukas Foss, and for Marian Anderson. During the performance, there was an orderly incident: three youngsters almost disrupted the"
"one being 13 February 2005. It was hosted in New York City at Town Hall and was a salute to the influence of Woody king Jr's New Federal Theatre (NFT) in the Black Arts Movement (BAM). Jeffrey Anderson-Gunter was a special guest performing at this event, along others such as Denzel Washington and Samuel L. Jackson. On 6 May 2012 the event Broadway Bound was again co hosted by Jeffrey Anderson-Gunter along with Obie award winner Charlayne Woodard. The event featured veteran actors, singers and dancers of Broadway. On 29 June 2013 the California African American Museum hosted 4 July"
"the United States, where blacks and whites could sit, socialize and dance in the same room and enjoy entertainment. It opened in late 1938 with a three-month engagement of the Fletcher Henderson Orchestra, Billie Holiday and comedian Jack Gilford, immediately making it New York's hottest club. One day, John Hammond asked White to meet Barney Josephson, the owner of the club. As soon as Josephson heard White and saw the charisma he exuded, he told Hammond that White was going to become the first black male sex symbol in America. It was Josephson who decided at that first encounter, on"
"had met through the New York Philharmonic, became her manager. Over the next several years, she made a number of concert appearances in the United States, but racial prejudice prevented her career from gaining much momentum. In 1928, she sang for the first time at Carnegie Hall. Eventually she decided to go to Europe where she spent a number of months studying with Sara Charles-Cahier before launching a highly successful European singing tour. In 1933, Anderson made her European debut in a concert at Wigmore Hall in London, where she was received enthusiastically. She spent the early 1930s touring throughout"
"2005, a W Hotel. Central Theatre (New York City) Central Theatre was a Broadway theatre in New York City built in 1918. It was located at 1567 Broadway at 47th St., southwest corner, and seated approximately 1,100 patrons. The architect was Herbert J. Krapp. The theatre was built by the Shubert family on a site previously occupied by the Mathushek & Son piano factory. The first production at the theatre was the play ""Forever After"", by Owen Davis, which opened in 1918. This moved to Playhouse Theatre for a long run. A musical, ""Somebody's Sweetheart"" (music by Antonio Bafunno; book"
"to spread Communist doctrine among their fellow seamen. Folliard covered the famous 1939 concert held by Marian Anderson at the Lincoln Memorial and arranged by First Lady Eleanor Roosevelt after the Daughters of the American Revolution had refused to permit the black opera singer to perform at its auditorium, Constitution Hall. ""Marian Anderson stood on the steps of the Lincoln Memorial yesterday, sent her matchless contralto voice out over the air and held a crowd of 75,000 enthralled,"" wrote Folliard. ""It was one of the largest assemblages Washington had seen since Lindbergh came back from Paris in '27."" In 1940,"
"Hall Center for the Performing Arts and the Gem Theatre and Century Club. In 1959, Berry Gordy founded Motown Records, one of the first black-owned record labels. Over the next decade, a number of top artists, including The Supremes, The Temptations, Stevie Wonder and Marvin Gaye, signed with the label. The Second Baptist Church once served as ""station"" for the Underground Railroad. A monument to the Underground Railroad was erected in 2001 at Hart Plaza downtown. The Shrine of the Black Madonna of the Pan-African Orthodox Christian Church was founded in 1953 by the Rev. Albert B. Cleage. One of"
"unclear but somewhere between 1948 and 1951. He subsequently opened a small chain of restaurants in New York, the Cookeries. By late 1969 he had reduced the chain to a single restaurant at University Place and 8th Street in Greenwich Village. He then began to feature live music in the restaurant, starting with the jazz pianist Mary Lou Williams who had played at Café Society. In her wake, many of those who had once performed at the club subsequently appeared at the Cookery, including the singer Alberta Hunter, Big Joe Turner, Nellie Lutcher, Eddie Heywood, Teddy Wilson, Rose Murphy, Jimmy"
"time the Morton building formed the core of the downtown Black business district. Many of Athens' Black doctors, dentists, and pharmacists practiced in the Morton Building. Among these were Dr. Ida Mae Johnson Hiram, the first Black woman to be licensed to practice medicine (dentistry) in the State, and Dr. William H. Harris, one of the founders of the Georgia State Medical Association of Colored Physicians, Dentists and Druggists. The theatre was opened on May 18, 1910 for vaudeville acts and those of local, regional and national performers. Duke Ellington, Cab Calloway, Bessie Smith, Louis Armstrong and Ma Rainey performed"
"gatherings for artists. Located at 580 Saint Nicholas Avenue, the apartment became known as the ""580"" and the ""Harlem West Side Literary Salon"". Anderson helped to organize the Civic Club dinner of 1924 for black New York intellectuals and writers. Attended by 110 guests, including W. E. B. Du Bois, Jean Toomer, Countee Cullen, Charles S. Johnson, Hubert Thomas Delany, and Langston Hughes, the dinner was one of the coalescing events of the Harlem Renaissance. Andrews and Du Bois co-founded the Krigwa Players (later Negro Experimental Theatre), a black theater company. The Players produced her plays ""Climbing Jacob's Ladder"" (about"
"In 1950 Daniels became the lead performer at the Bon Soir in Greenwich Village, a place which attracted a mixed clientele—Black, White, straight, gay. In the 1960s he organized a series of parties at the L’Etang Supper Club in Downtown Manhattan. At the same time Jimmy Merry, prominent property owner of Cherry Grove, New York, hired Daniels to manage the Tiffany Room, now the Ice Palace. He also performed at the Blue Whale Bar in Fire Island Pines, New York. But a racist event, a cross burned in front of Daniels' home on the island, convinced Daniels to drop this"
"place where they could gather, but other customers were attracted by the door inside (autographed by visiting celebrities) which gave the club its name, the fine music, and drinks that started at fifty cents."" An upstairs room was used for informal jazz sessions. In its first year, musicians such as Bunny Berigan, Georg Brunis, Bobby Hackett, Billie Holiday, Max Kaminsky, Wingy Manone, and Red Norvo helped establish its reputation. Vocalist Bessie Smith's only 52nd Street appearance was at the Famous Door – for a single date in February 1936. The club was predominantly for white musicians; black musicians Holiday and"
"scene, beginning with Ethel Waters, a singer from nearby Chester, Pennsylvania, who was the first star for Black Swan Records. The Standard Theatre and Dunbar Theatre (later renamed the Lincoln Theater) were important venues for jazz in the early 20th century, when most major performers stopped in Philadelphia, Baltimore, Washington, and New York. Though jazz was a fundamentally African American style, Philadelphia's multi-ethnic population was attracted to the style, and the city's Italian and Jewish neighborhoods produced several well-known jazz musicians. Two of the most important were the Italian jazz instrumentalists Eddie Lang and Joe Venuti, the latter of whom"