Voice of Freedom

Narrator: In the spring of 1939, Marian Anderson was one of the most famous entertainers in the world, known to millions as “The Voice of the Century.” But as she rehearsed in the shadow of the Lincoln Memorial, it was all she could do to keep her nerves in check.

旁白：1939 年春天，玛丽安·安德森 (Marian Anderson) 是世界上最著名的艺人之一，被数百万人称为“世纪之声”。但当她在林肯纪念堂的阴影下排练时，她所能做的就是控制自己的紧张情绪。

In a few hours Anderson was to sing a free concert for tens of thousands of spectators here, and for millions more listening on the radio coast-to-coast.

几个小时后，安德森将在这里为数万名观众以及全国各地的数百万人收听免费音乐会。

None of this had been her choice.

这一切都不是她的选择。

Leslie Ureña, Associate Curator, National Portrait Gallery: She called her manager the night before and said, “Do I still have to go through with this?” Lucy Caplan, Cultural Historian: It was so weighted with political and social symbolism in ways that were beyond her control.

莱斯利·乌雷纳 (Leslie Ureña)，国家肖像画廊副馆长：前一天晚上她打电话给经理说：“我还需要经历这件事吗？”露西·卡普兰（Lucy Caplan），文化历史学家：它充满了政治和社会象征意义，超出了她的控制范围。

Allida Black, Historian: She knew the minute that she stood before Lincoln that this would be how she would be defined for the rest of her life.

阿莉达·布莱克，历史学家：当她站在林肯面前的那一刻，她就知道这将是她余生的定义。

Narrator: Racism shadowed every aspect of Anderson’s life.

旁白：种族主义笼罩着安德森生活的方方面面。

A few months earlier, she had been barred from the only suitable concert hall in Washington by an organization called the Daughters of the American Revolution.

几个月前，一个名为“美国革命之女”的组织禁止她进入华盛顿唯一合适的音乐厅。

Anderson had been shut out because of her race many times before, from many places.

安德森之前曾多次因为她的种族而被来自许多地方的人拒之门外。

But this time civil rights groups, churches, even First Lady Eleanor Roosevelt had rallied to defend her rights.

但这一次，民权团体、教堂，甚至第一夫人埃莉诺·罗斯福都团结起来捍卫自己的权利。

It had all led to this moment, to an unprecedented demonstration for freedom and equality, in the heart of the nation’s capital.

这一切都导致了这一刻，在国家首都的中心举行了一场史无前例的自由与平等示威活动。

Adriane Lentz-Smith, Historian: Anderson has an appeal that crosses age and color lines.

阿德里安·伦茨·史密斯（Adriane Lentz-Smith），历史学家：安德森具有跨越年龄和肤色界限的吸引力。

This woman, whether she wants to be or not, is perfect for highlighting the absurdity of American racial codes.

无论她愿意与否，这个女人都是凸显美国种族准则荒谬性的完美人选。

Lucy Caplan, Cultural Historian: She had worked so hard to be known as an artist.

露西·卡普兰，文化历史学家：她为成为一名艺术家而付出了巨大的努力。

And she knew that this would turn her into a political figure.

她知道这将使她成为一名政治人物。

And that was distinctly not what she wanted for herself.

这显然不是她自己想要的。

But she also recognized the power of what she could do.

但她也认识到自己所能做的事情的力量。

She was becoming part of this thing that was so much bigger than herself.

她正在成为这个比她自己大得多的事物的一部分。

Adriane Lentz-Smith, Historian: The civil rights movement did not begin in 1954 or 1955.

Adriane Lentz-Smith，历史学家：民权运动并不是在 1954 年或 1955 年开始的。

The struggle was already in motion.

斗争已经开始了。

Folks had been fighting, pushing, refining for decades.

几十年来，人们一直在战斗、推动、改进。

Kira Thurman, Historian: When we think of the civil rights movement, we go first to a lot of African-American men.

历史学家基拉·瑟曼：当我们想到民权运动时，我们首先想到的是许多非裔美国男性。

Marian Anderson is an outlier.

玛丽安·安德森是个异类。

Angela Brown, Opera Singer: She became a political icon, the face of a movement.

安吉拉·布朗，歌剧歌手：她成为政治偶像，一场运动的代言人。

And that was something she could never step back from.

这是她永远无法退缩的事情。

Narrator: Marian Anderson had known what she wanted from life since she was a girl.

旁白：玛丽安·安德森从小就知道自己想要从生活中得到什么。

“I was so interested in music,” she said, “that other things didn’t matter a lot.” So when the seventeen-year-old walked into the lobby of the Philadelphia Musical Academy in 1914 and waited for her turn to fill out an application, she was on the verge of realizing her fondest ambition.

“我对音乐非常感兴趣，”她说，“其他事情并不那么重要。”因此，当 1914 年这位 17 岁的女孩走进费城音乐学院的大厅并等待填写申请表时，她即将实现自己最大的抱负。

If she was accepted by the Academy, then Anderson could begin her formal musical education: singing lessons, languages, acting, and music theory.

如果她被学院录取，那么安德森就可以开始她的正式音乐教育：歌唱课、语言课、表演课和音乐理论课。

It would be a dream come true.

这将是梦想成真。

Anderson had been known among Philadelphia’s Black community ever since she joined the Union Baptist choir after her sixth birthday - “the baby contralto,” she’d been called.

自从安德森六岁生日后加入联合浸信会合唱团以来，她就在费城黑人社区中广为人知——人们称她为“婴儿女低音”。

Music: Choir sings Harry T.

音乐：合唱团演唱 Harry T.

Burleigh arrangement of “My Lord What a Morning”

伯利改编的《My Lord What a Morning》

Angela Brown, Opera Singer: She sang a lot of spirituals, hymns, the great anthems of the church.

安吉拉·布朗，歌剧歌手：她唱了很多圣歌、赞美诗和伟大的教堂圣歌。

Union Baptist was one of those places where a Negro, a Black person, could go and hear high church, high holy music.

联合浸信会是黑人可以去聆听高尚教堂、高尚神圣音乐的地方之一。

And so those were the things that she cut her teeth on early on.

这些就是她很早就开始接触的东西。

Narrator: But Marian Anderson was an unlikely candidate for the Musical Academy.

旁白：但是玛丽安·安德森不太可能成为音乐学院的候选人。

She’d had to leave school when she was twelve years old, after her father was killed in an accident at work.

十二岁时，她的父亲在一次工作事故中丧生，她不得不辍学。

The family was plunged into poverty.

一家人陷入了贫困。

Alisha Jones, Ethnomusicologist: Her whole world turned upside down when her father passed.

艾丽莎·琼斯，民族音乐学家：当她父亲去世时，她的整个世界都发生了翻天覆地的变化。

// Her mother // had to // take on // multiple jobs // in order to provide // for // her three daughters.

// 她的母亲 // 必须 // 承担 // 多项工作 // 才能养活 // 她的三个女儿。

// The sort of sacrifice // and love investment that her mother was making // stuck with Marian Anderson for the rest of her life.

// 她母亲所做的牺牲 // 和爱的投资 // 在她的余生中与玛丽安·安德森在一起。

Narrator: While her mother was working at a tobacco factory, Marian helped raise her two younger sisters and did odd jobs to help with the finances.

旁白：当她的母亲在一家烟草厂工作时，玛丽安帮助抚养她的两个妹妹，并打零工来帮助维持财务。

Union Baptist became her refuge.

联合浸信会成了她的避难所。

It was at an evening concert there that Anderson first caught the eye and ear of America’s greatest Black tenor, Roland Hayes.

正是在那里的一场晚间音乐会上，安德森第一次引起了美国最伟大的黑人男高音罗兰·海耶斯的注意和耳朵。

Lucy Caplan, Cultural Historian: Roland Hayes is what Anderson aspires to be, And he recognized that Anderson was no kind of just top student in the church choir kind of voice.

露西·卡普兰，文化历史学家：罗兰·海耶斯是安德森渴望成为的人，他认识到安德森不仅仅是教堂唱诗班中的尖子生。

He became a real mentor.

他成为了一位真正的导师。

Narrator: Hayes offered support and guidance, but he couldn’t change the financial realities of Anderson’s life.

旁白：海耶斯提供了支持和指导，但他无法改变安德森生活的财务现实。

Friends and supporters could see her future being slowly smothered.

朋友和支持者可以看到她的未来正在慢慢被扼杀。

So when Anderson was a teenager the congregation at Union Baptist took up the first of many collections for the young woman they called “our Marian.”

因此，当安德森十几岁的时候，联合浸信会的会众为这位被他们称为“我们的玛丽安”的年轻女子进行了许多收藏中的第一个。

Angela Brown, Opera Singer: There’s always a ram in the bush.

安吉拉·布朗，歌剧歌手：灌木丛中总有一只公羊。

She did have benefactors that weren't wealthy, but had great wealth of heart.

她确实有一些虽然不富有，但内心却非常富有的恩人。

Narrator: By the time Anderson was seventeen, Philadelphia’s Black community had raised enough money that she could finally begin high school, and best of all, study music at the Philadelphia Musical Academy.

旁白：安德森十七岁的时候，费城的黑人社区已经筹集到了足够的资金，她终于可以开始上高中了，最重要的是，她可以在费城音乐学院学习音乐。

But when the time to apply finally arrived, Anderson waited all day in the lobby, as White girls were ushered past.

但当申请的时间终于到来时，安德森在大厅里等了一整天，因为白人女孩被引导过去。

Angela Brown, Opera Singer: When everyone was gone, Anderson was still standing there.

安吉拉·布朗，歌剧歌手：当所有人都走了时，安德森还站在那里。

And the white girl says, "Well, what do you want?" And she says, "Well, I want to apply for the school.

白人女孩说：“那么，你想要什么？”她说：“好吧，我想申请这所学校。

You know, I've come to get information." And she was like, "We don't take colored."

你知道，我是来获取情报的。”她说：“我们不接受有色人种。”

Adriane Lentz-Smith, Historian: Most Black people in the public eye have a story about their initial encounter with Jim Crow racism.

阿德里安·伦茨-史密斯，历史学家：公众眼中的大多数黑人都有一个关于他们最初遭遇吉姆·克劳种族主义的故事。

And it usually coincides with some kind of coming of age because it is, in fact, in some ways a coming of age story.

它通常与某种成熟相一致，因为事实上，在某些方面，它是一个成熟的故事。

Narrator: Ever since her father died, Anderson had watched her mother confront hardship with grace and unwavering determination.

旁白：自从父亲去世后，安德森看着母亲以优雅和坚定的决心面对困难。

“Mother had a strength beyond herself,” she said, and Marian had taken on those same qualities.

“母亲拥有超越她自己的力量，”她说，而玛丽安也具备了同样的品质。

Just weeks after the crushing blow at the Musical Academy, Anderson began singing lessons with a neighborhood teacher, and then started high school.

音乐学院遭受毁灭性打击几周后，安德森开始跟随邻居老师上歌唱课，然后开始上高中。

In her spare hours, she taught herself piano and sang for just about every Ladies Auxiliary, YWCA, church group and social club in Philadelphia.

在业余时间，她自学钢琴，并为费城几乎所有女子辅助队、基督教青年会、教会团体和社交俱乐部唱歌。

Alisha Jones, Ethnomusicologist: She had to regroup.

艾丽莎·琼斯，民族音乐学家：她必须重新组合。

In many ways, she found her ingenuity during this time.

在这段时间里，她在很多方面都发现了自己的聪明才智。

She still found a way to steal away, as the elders say.

正如长辈所说，她还是找到了偷走的办法。

Narrator: But despite her talent and ambition, Anderson remained almost unknown outside her Philadelphia community.

旁白：尽管安德森才华横溢、雄心勃勃，但她在费城社区之外几乎无人知晓。

So when the twenty-four-year-old was invited to perform in Chicago in 1919 at the first meeting of the National Association of Negro Musicians, she jumped at the opportunity.

因此，当这位 24 岁的女孩于 1919 年受邀在芝加哥全国黑人音乐家协会第一次会议上表演时，她抓住了这个机会。

That summer was a risky time for a Black woman to be traveling across the country.

那年夏天对于一名黑人女性来说，穿越全国是一个危险的时期。

In July alone, there were deadly riots in Washington, New York, Norfolk, Virginia, and a dozen other cities.

仅在七月份，华盛顿、纽约、诺福克、弗吉尼亚和其他十几个城市就发生了致命的骚乱。

Adriane Lentz-Smith, Historian: The summer of 1919 - “Red Summer” - is [1]the crest of one of the most vicious years in American history.

历史学家阿德里安·伦茨-史密斯 (Adriane Lentz-Smith)：1919 年的夏天——“红色夏天”——是[1]美国历史上最邪恶的年份之一的顶峰。

There are riots that kind of sweep the nation.

发生了席卷全国的骚乱。

They're, not just Southern riots.

他们不仅仅是南方骚乱。

Not only have segregation and the underlying ethos of Jim Crow gone national, but the commitment to reinforcing and defending them through, through terroristic violence is also national.

种族隔离和吉姆·克劳的基本精神不仅已成为全国性的，而且通过恐怖主义暴力来加强和捍卫它们的承诺也是全国性的。

Narration: Jim Crow was following the Great Migration northward, and both had landed in Chicago.

旁白：吉姆·克劳跟随大迁徙北上，两人都登陆了芝加哥。

In the last two years alone, an estimated fifty thousand Black people had arrived in the city, almost doubling Chicago’s African American population.

仅在过去两年，估计就有五万黑人抵达这座城市，几乎是芝加哥非裔美国人人口的两倍。

New arrivals crowded up uneasily against a huge influx of immigrants fleeing Southern and Eastern Europe.

新来者不安地挤在一起，与逃离南欧和东欧的大量移民涌入。

Those European migrants were divided by religion, language, and ethnicity, but they held one thing in common: an antipathy toward Black people.

这些欧洲移民因宗教、语言和种族而分裂，但他们有一个共同点：对黑人的反感。

Business owners exploited racial tensions, frequently using Black workers to undercut wages and break strikes.

企业主利用种族紧张局势，经常利用黑人工人来降低工资并阻止罢工。

Adriane Lentz-Smith, Historian: Marian Anderson travels to a Chicago in 1919 that's basically a powder keg.

阿德里安·伦茨-史密斯 (Adriane Lentz-Smith)，历史学家：玛丽安·安德森 (Marian Anderson) 于 1919 年前往芝加哥，那里基本上就是一个火药桶。

And it has many of the conditions that you'll see in cities across the country.

它具备全国各地城市所具备的许多条件。

There's pressure on housing.

住房有压力。

There's competition over jobs.

工作上存在竞争。

There are returning soldiers, Black and white; Black soldiers angry about their World War 1 experience and convinced that they've earned their full citizenship rights and white soldiers determined to keep African-Americans from acting on their convictions.

有归来的士兵，黑白；黑人士兵对他们的第一次世界大战经历感到愤怒，并相信他们已经赢得了完整的公民权利，而白人士兵则决心阻止非裔美国人践行自己的信念。

Narration: On the afternoon of July 27th, fourteen-year-old Eugene Williams was killed when his raft drifted into the white section of the 29th Street Beach.

旁白：7月27日下午，14岁的尤金·威廉姆斯（Eugene Williams）的木筏漂入29街海滩的白色区域时身亡。

A policeman refused to arrest his assailant; fights broke out between Black and white bystanders.

一名警察拒绝逮捕袭击者；黑人和白人旁观者之间爆发了斗殴。

While Anderson was at the Chicago Musical College preparing for the most important performance of her life, the rising tide of racial violence came crashing down around her.

当安德森在芝加哥音乐学院准备她一生中最重要的演出时，不断高涨的种族暴力浪潮在她周围轰然倒塌。

Adriane Lentz-Smith, Historian: There were rampaging mobs moving through Black neighborhoods, rumors circulating about violence being done all over the city, bodies riddled with bullets or set afire.

阿德里安·伦茨-史密斯，历史学家：暴民在黑人社区中横冲直撞，关于暴力事件的谣言在整个城市传播，尸体上布满了子弹或被焚烧。

Narrator: Over five days, twenty-three African Americans and fifteen whites were killed in Chicago, and five hundred people injured.

旁白：五天内，芝加哥有二十三名非裔美国人和十五名白人被杀，五百人受伤。

But the National Association of Negro Musicians would not be deterred: the performance had to be postponed and relocated to a cramped hall at the YMCA, but on the first of August 1919, Marian Anderson made her concert debut in an extraordinary moment.

但全国黑人音乐家协会不会被吓倒：演出不得不推迟并搬到基督教青年会的一个狭窄的大厅，但在 1919 年 8 月 1 日，玛丽安·安德森在一个非凡的时刻首次举行了音乐会。

Music: Anderson sings Bach “Erbarme Dich” Adriane Lentz-Smith, Historian: One of the things that art has long done especially for African-American American communities, is to find a language of transcendence, of hope in hopelessness.

音乐：安德森演唱巴赫“Erbarme Dich” 阿德里安·伦茨-史密斯，历史学家：艺术长期以来特别为非裔美国社区所做的事情之一，就是找到一种超越的语言，在绝望中寻找希望的语言。

Because the moment you let go of that, what do you have?

因为当你放手的那一刻，你拥有什么？

You’re lost.

你迷路了。

Narrator: The memory of Red Summer was still fresh on Memorial Day in 1922, when official Washington gathered on the Mall to dedicate the new Lincoln Memorial.

旁白：1922 年的阵亡将士纪念日，人们对红色夏天的记忆还历历在目，当时华盛顿官方聚集在广场上为新的林肯纪念堂举行落成仪式。

The organizers had invited a few African American lawyers, professors, and other dignitaries, but many of them walked out when they realized they were being herded to a segregated area, back among the dirt and weeds.

组织者邀请了一些非裔美国律师、教授和其他政要，但当他们意识到自己被赶到一个隔离区，回到泥土和杂草之中时，他们中的许多人都退出了。

Adriane Lentz-Smith, Historian: The fact that the dedication of the Lincoln Memorial was segregated is surprising to us until we actually think about the moment in history and what Washington, D.C. was like.

阿德里安·伦茨-史密斯，历史学家：林肯纪念堂的落成仪式是种族隔离的，这一事实令我们感到惊讶，直到我们真正思考历史上的这一时刻以及华盛顿特区是什么样子。

On the other side of the violence of 1919, with the country's redoubled commitment to white supremacy, segregation was so deeply embedded that it was hard to imagine how it would be undone.

1919 年暴力事件的另一面，随着该国加倍致力于白人至上，种族隔离已根深蒂固，很难想象如何消除它。

Narrator: Fifty-seven years after the end of the Civil War, Lincoln was still widely revered among African Americans.

旁白：内战结束五十七年后，林肯仍然受到非裔美国人的广泛尊敬。

“Time presents a thousand heroes but the world knows only one Emancipator,” the nation’s largest Black newspaper, the Chicago Defender, declared.

“时间呈现了一千位英雄，但世界只知道一位解放者，”美国最大的黑人报纸《芝加哥捍卫者报》宣称。

He had “freed the bondman...the greatest act, by the greatest American.” But over time white Americans had crafted a very different memory of Lincoln, and of the Civil War itself.

他“释放了奴隶……最伟大的美国人的最伟大的行为。”但随着时间的推移，美国白人对林肯以及内战本身产生了截然不同的记忆。

Adriane Lentz-Smith, Historian: By 1922, the narrative of the Civil War as a tragic break among white men in which enslaved people have no speaking role, right, like that is firmly in place.

阿德里安·伦茨-史密斯，历史学家：到了 1922 年，关于内战的叙述是白人之间的一场悲剧性决裂，奴隶们在这场战争中没有发言权，对吧，就像这样。

We'll get to the point where people are saying the Civil War was never about slavery.

我们将达到人们说内战从来都不是关于奴隶制的地步。

And so Lincoln as the Great Emancipator, is gone out of the narrative.

因此，林肯作为伟大的解放者，已经从叙述中消失了。

Narrator: “Lincoln will be remembered in history not as having freed men from slavery,” President Harding told the audience, “but as having kept the Union intact.” By erasing emancipation, the veneration of Lincoln could be squared with the subjugation of Black Americans.

旁白：“林肯将不会因为将人类从奴隶制中解放出来而被历史铭记，”哈丁总统告诉观众，“而是因为他保持了联邦的完整。”通过消除解放，对林肯的崇拜可以与对美国黑人的征服相一致。

The only African American speaker that afternoon was Dr. Robert Moton, the president of Tuskegee Institute.

那天下午唯一的非洲裔美国人发言者是塔斯基吉研究所所长罗伯特·莫顿博士。

“This memorial is but a hollow mockery,” Moton wrote in the draft of his speech, “a symbol of hypocrisy, unless we can make real in our national life the things for which he died.” But Moton’s draft was censored by the event’s organizers, leaving only a bland tribute to Lincoln.

莫顿在演讲草稿中写道：“这座纪念碑只是一个空洞的嘲讽，是虚伪的象征，除非我们能够在我们的国家生活中实现他为之而死的事情。”但莫顿的草稿遭到了活动组织者的审查，只留下了对林肯的平淡致敬。

Music: Military band plays “My Country Tis Of Thee” When the ceremony was over the U.S. Marine Band struck up “My Country ‘Tis of Thee,” and the crowd began drifting away.

音乐：军乐队演奏“My Country Tis Of Thee”仪式结束后，美国海军陆战队乐队演奏了“My Country Tis of Thee”，人群开始散去。

The Black press was outraged by the ceremony, and by the revision of history.

黑人媒体对这个仪式和历史的修改感到愤怒。

The Chicago Defender urged African Americans to boycott the Memorial: “Pass the shrine by,” it advised.

《芝加哥卫报》敦促非裔美国人抵制纪念馆：“请绕过神社，”它建议道。

“Later on, let us dedicate that temple thus far only opened.”

“稍后，让我们为这座刚刚开放的圣殿举行开光仪式吧。”

Narrator: Following her harrowing experience in Chicago, Anderson threw herself into a series of short concert tours of the Upper South, traveling with an accompanist on a circuit of Black colleges, theaters, and churches.

旁白：在经历了芝加哥的痛苦经历之后，安德森全身心投入到上南部一系列简短的音乐会巡演中，与伴奏者一起在黑人大学、剧院和教堂巡回演出。

Kira Thurman, Historian: We forget, or perhaps we don't know, that there were vibrant Black communities organized around classical music, and that there were Negro symphony orchestras and there were Negro string quartets.

基拉·瑟曼，历史学家：我们忘​​记了，或者也许我们不知道，有围绕古典音乐组织起来的充满活力的黑人社区，有黑人交响乐团和黑人弦乐四重奏。

And people would organize opera performances with entirely Black audiences and entirely Black musicians performing.

人们会组织全黑人观众和全黑人音乐家表演的歌剧表演。

Lucy Caplan, Cultural Historian: They didn’t make a lot of money.

文化历史学家露西·卡普兰：他们赚的钱不多。

But at the same time they were welcomed warmly and treated with extreme respect and commitment by the audiences they had in these settings.

但与此同时，他们在这些环境中受到了观众的热烈欢迎、极大的尊重和承诺。

Sharon Vriend: Music was her refuge.

Sharon Vriend：音乐是她的避难所。

So she cocooned herself on one level.

所以她把自己封闭在一个层面上。

But she was also a risk taker.

但她也是一个敢于冒险的人。

She had to support herself and her family in a time when there was a dual legal system, a dual political system and harsh segregation and violence against African Americans.

在一个存在双重法律制度、双重政治制度以及针对非裔美国人的严厉隔离和暴力的时代，她必须养活自己和家人。

Kira Thurman, Historian: Being beaten up on the streets lynchings rape happened constantly in the 1920s and 30s.

基拉·瑟曼（Kira Thurman），历史学家：20 世纪 20 年代和 30 年代，街头殴打、私刑、强奸事件时有发生。

Her first time going to the South she couldn’t sleep because she’d heard stories about white passengers coming to the African-American section of the train and throwing passengers out of the train.

她第一次去南方时无法入睡，因为她听说白人乘客来到火车的非裔美国人部分并将乘客扔出火车。

And so she was terrified that that could happen to her.

所以她很害怕这种事会发生在她身上。

Angela Brown, Opera Singer: Early on, during those tours when she was on trains, the cars were dirty and didn't have a bathroom and they didn't have access to food.

安吉拉·布朗，歌剧歌手：早期，在她乘坐火车旅行时，车厢很脏，没有浴室，也没有食物。

She went through the trenches.

她穿过战壕。

Narrator: If Anderson was ever to move beyond this grueling circuit, she would need professional training.

旁白：如果安德森想要超越这个艰苦的循环，她就需要专业的训练。

Despite her stunningly beautiful voice, Anderson knew that she couldn’t bring music to life the way Roland Hayes did .

尽管她的声音非常美丽，安德森知道她无法像罗兰·海耶斯那样将音乐带入生活。

Music: Hayes sings Schubert, “Du bist die Ruh”

音乐：海耶斯演唱舒伯特《Du bist die Ruh》

Vo: Roland Hayes sang in such a convincing manner, and with such beauty, that each song had a picture, whether it was in German or French or Italian.

画外音：罗兰·海斯（Roland Hayes）的演唱如此令人信服，如此美丽，以至于每首歌都有一个画面，无论是德语、法语还是意大利语。

It might be a person who is very distressed or wild or something of the sort, or other things he did in such a caressing manner...you knew immediately what the thing conveyed to you.

可能是一个非常痛苦或狂野或类似的人，或者他以如此爱抚的方式做了其他事情……你立即知道这件事向你传达了什么。

Lucy Caplan, Cultural Historian: She wasn't about spectacle or glamour.

露西·卡普兰，文化历史学家：她不关心奇观或魅力。

And this music, German lieder, that's so much about kind of interiority and the self, it really fits with who she was.

这种音乐，德国歌曲，非常关乎内在和自我，它真的很适合她是谁。

Narrator: It took some work persuading Giuseppe Boghetti to even grant an audition; he was one of the busiest vocal coaches in the Northeast.

旁白：说服朱塞佩·博盖蒂（Giuseppe Boghetti）同意试镜是花了一番功夫的。他是东北地区最忙碌的声乐教练之一。

But Anderson quickly became his star student.

但安德森很快就成为了他的明星学生。

Together they worked on vocal projection, agility, and balance.

他们一起致力于声音投射、敏捷性和平衡性。

Boghetti also introduced her to the languages required of a classical performer, with one glaring exception: Anderson learned not a word of German, the language of the lieder she hoped to master.

博盖蒂还向她介绍了古典表演者所需的语言，但有一个明显的例外：安德森没有学过德语，而德语是她希望掌握的艺术歌曲的语言。

Life wasn’t all work; some afternoons a tall, light-skinned, young Black man came by the Anderson home; he and Marian would listen to records together on his Victrola.

生活并不全是工作；有些下午，一位高个子、浅肤色的年轻黑人来到安德森家。他和玛丽安会用他的留声机一起听唱片。

Orpheus Fisher came from a well-to-do family and was studying to be an architect.

奥菲斯·费舍尔出身于一个富裕的家庭，正在学习成为一名建筑师。

“I felt quite interested that he was interested,” Anderson recalled.

“我对他感兴趣感到非常感兴趣，”安德森回忆道。

But then Orpheus caught Marian by surprise.

但随后奥菲斯却让玛丽安大吃一惊。

Sharon Vriend Robinette, Historian: She had the opportunity to be a successful architect's wife or to take a risk and become a career musician.

Sharon Vriend Robinette，历史学家：她有机会成为一名成功建筑师的妻子，或者冒险成为一名职业音乐家。

And that was not written in stone at that point.

那时这还不是一成不变的。

Kira Thurman, Historian: She was deeply in love with Orpheus Fisher and could have easily imagined settling down, perhaps having children.

基拉·瑟曼，历史学家：她深深地爱着奥菲斯·费希尔，很容易想象安定下来，也许生孩子。

But instead, she made a choice to pursue her career in a world that was hostile to Black women.

但相反，她选择在一个对黑人女性充满敌意的世界中追求自己的职业生涯。

Narrator: In fact, by the fall of 1923, Anderson’s career seemed to be reaching a tipping point: her concert tours were getting longer; fees were rising.

旁白：事实上，到了 1923 年秋天，安德森的职业生涯似乎已经达到了一个转折点：她的巡回演唱会越来越长；她的巡演时间越来越长。费用不断上涨。

And most exciting of all, she had received an invitation from the Victor Talking Machine Company.

最令人兴奋的是，她收到了维克多说话机器公司的邀请。

Twenty years earlier phonographs had been mere novelties; a recording might sell a few dozen copies.

二十年前，留声机还只是新奇事物。一张唱片可能会卖出几十张。

But that changed in 1904, when Victor recorded an Italian tenor, Enrico Caruso, singing what was called “high class” music.

但这种情况在 1904 年发生了变化，当时 Victor 录制了意大利男高音恩里科·卡鲁索 (Enrico Caruso) 演唱的所谓“高级”音乐。

Music: Enrico Caruso sings “Vesti la giubba” (1907 Victor recording)

音乐：Enrico Caruso 演唱“Vesti la giubba”（1907 年 Victor 录音）

Narrator: Three years later Caruso would sell a million copies of a single aria, Victor was one of the biggest companies in the world, and opera was mainstream.

旁白：三年后，卡鲁索一首咏叹调的销量达到一百万份，维克多成为世界上最大的公司之一，歌剧成为主流。

Lucy Caplan, Cultural Historian: The notion of being able to put on a recording of a great artist in your home was something totally new.

文化历史学家露西·卡普兰：能够在家中播放一位伟大艺术家的录音是一种全新的想法。

So classical music and classical artists become much more popular.

因此古典音乐和古典艺术家变得更加流行。

This is a really profound transformation - it was really a part of mass culture.

这是一个非常深刻的转变——它确实是大众文化的一部分。

Narrator: By the early 1920’s record companies were popularizing new styles of music, and targeting specific markets, including racial and ethnic groups.

旁白：到了 1920 年代初，唱片公司开始流行新的音乐风格，并针对特定市场，包括种族和民族群体。

So the Artist and Repertoire department at Victor was primed when they heard of an exciting young Black singer.

因此，当维克多的艺术家和剧目部门听说一位令人兴奋的年轻黑人歌手时，他们就做好了准备。

On the 10th of December 1923, Marian Anderson was led into a recording studio at Victor’s New Jersey headquarters, where she positioned herself in front of a recording horn as the small orchestra crowded in around her.

1923 年 12 月 10 日，玛丽安·安德森 (Marian Anderson) 被带入维克多新泽西总部的录音室，她站在录音喇叭前，小型管弦乐队挤在她周围。

Music: Marian Anderson sings Burleigh arrangement of Deep River (1923 recording)

音乐：玛丽安·安德森演唱伯利改编的《Deep River》（1923 年录音）

Narrator: Anderson always sang a group of what were called “Negro spirituals” in her concerts, arrangements by Black composers of the religious songs that had given solace to their forebears.

旁白：安德森在她的音乐会上总是演唱一组所谓的“黑人圣歌”，这些歌曲是由黑人作曲家改编的宗教歌曲，这些歌曲给他们的祖先带来了安慰。

They had never before been recorded by a major American label.

它们之前从未被美国主要唱片公司录制过。

Kira Thurman, Historian: What Marian Anderson did, along with Roland Hayes in the 1920s and 30s, was really popularize //African-American spirituals and bringing them to white audiences.

基拉·瑟曼（Kira Thurman），历史学家：玛丽安·安德森（Marian Anderson）和罗兰·海耶斯（Roland Hayes）在 20 世纪 20 年代和 30 年代所做的事情，真正普及了非裔美国人的灵歌，并将其带给白人观众。

At a time when Black women and Black musicians were just so denigrated, she made this argument over and over again, that African-American music was worth celebrating, and that it was just as elevated as the music of Beethoven or Mozart.

在黑人妇女和黑人音乐家受到如此诽谤的时候，她一遍又一遍地提出这样的论点，即非裔美国音乐值得庆祝，并且它与贝多芬或莫扎特的音乐一样崇高。

Alisha Jones, Ethnomusicologist: She had a huge investment in translating the dignity of a people onto the concert stage.

艾丽莎·琼斯，民族音乐学家：她投入了大量资金，将一个民族的尊严转移到音乐会舞台上。

This was the sound and echo of a rural and slave past, confident, strong and imaginative, a reflection of the people to themselves.

这是乡村和奴隶过去的声音和回声，自信、坚强和富有想象力，是人民对自己的反映。

Marian Anderson challenged and broadened people's ideas of what the souls of Black folk looked and sounded like.

玛丽安·安德森挑战并拓宽了人们对黑人灵魂的外观和声音的看法。

Narrator: Three months after her recording session, Anderson’s first record was out, she was hailed by the Black press as the “greatest colored contralto of her generation,” and she packed the Renaissance Dance Hall in Harlem.

旁白：录音三个月后，安德森的第一张唱片发行了，她被黑人媒体誉为“她这一代最伟大的黑人女低音”，她挤满了哈莱姆区的文艺复兴舞厅。

This was the pinnacle of Black entertainment, but Anderson wanted more.

这是黑人娱乐的顶峰，但安德森想要更多。

The time had come, as she put it, to “take a plunge downtown.” The odds of an African American artist gaining a mainstream, crossover audience were vanishingly small, but that is exactly what Anderson had in mind.

正如她所说，是时候“到市中心去一趟了”。一位非裔美国艺术家获得主流、跨界观众的可能性微乎其微，但这正是安德森的想法。

She placed her bets on a concert at New York’s Town Hall in April.

她把赌注押在了四月份在纽约市政厅举行的一场音乐会上。

This, as far as the white press was concerned, would be her concert debut.

就白人媒体而言，这将是她的首次演唱会。

No sooner had Anderson begun rehearsing a highly ambitious program, than word came that Orpheus had married another woman.

安德森刚开始排练一个雄心勃勃的节目，就有消息称奥菲斯已经娶了另一个女人。

Anderson had been putting Orpheus off for years, but still the news hurt - not only was his new bride wealthy, she was white.

安德森多年来一直在推迟奥菲斯，但这个消息仍然令人伤心——他的新新娘不仅富有，而且是白人。

Orpheus’s pale skin made it possible to pass for white; faced with his own challenges as a budding architect, he decided to do just that.

俄耳甫斯苍白的皮肤让人有可能被误认为是白人。作为一名崭露头角的建筑师，面对自己面临的挑战，他决定这样做。

On the surface at least, Anderson swept the pain aside, as she always did.

至少从表面上看，安德森像往常一样把痛苦抛在了一边。

“He had his life,” she said, “and I had mine.”

“他有他的生活，”她说，“我也有我的。”

Anderson threw herself into the Town Hall rehearsals.

安德森全身心投入到市政厅的排练中。

The promoter reported that the tickets were selling out, and Boghetti soothed her worries about the four German lieder she was to sing.

主办方报告说门票已经售完，博盖蒂缓解了她对她要唱的四首德国歌曲的担忧。

Narrator: On the evening of April 10th 1924, Anderson walked onstage for her New York debut.

旁白：1924 年 4 月 10 日晚上，安德森走上舞台，开始她在纽约的首演。

“I felt for all the world,” she said, “like a prima donna.”

“我对全世界都有感觉，”她说，“就像一位首席女歌手。”

Alisha Jones, Ethnomusicologist: She was sold a bill of goods, that this was a sold out concert, and that she would finally make a debut to a packed house.

艾丽莎·琼斯，民族音乐学家：她被卖了一大笔货品，这是一场售完的音乐会，她最终将在座无虚席的观众中首次亮相。

It was definitely not a packed house.

这绝对不是一个拥挤的房子。

Narrator: Anderson was stunned.

旁白：安德森惊呆了。

“All the enthusiasm that I had built up seemed to fall to my feet,” she remembered.

“我积攒的所有热情似乎都消失殆尽了，”她回忆道。

The real problem came when she sang the group of German lieder.

真正的问题出现在她演唱德国歌曲组时。

“Miss Anderson betrayed a sad want of understanding of the deeper meanings of the lyrics and of lied interpretation,” one critic wrote.

一位评论家写道：“安德森小姐流露出对歌词深层含义和谎言解读的悲伤渴望。”

“She should devote more time to study,” wrote another, “and less to the concert stage.”

另一位网友写道：“她应该把更多的时间花在学习上，而不是花在音乐会舞台上。”

Angela Brown, Opera Singer: She was always used to the glowing review.

安吉拉·布朗，歌剧歌手：她总是习惯于热烈的评论。

Everywhere else she had sung, whatever mistakes in grammar or in breathing or in diction that were made, they were always excused.

她在其他地方演唱过，无论在语法、呼吸或措辞上有什么错误，他们总是被原谅。

But in New York City, at Town Hall, she was under a bigger microscope and the critics picked her apart.

但在纽约市政厅，她受到了更大的显微镜观察，批评家们对她进行了非议。

Narrator: For twelve years Anderson had struggled to overcome the hurdle that had been so casually thrown up by a Philadelphia music school.

旁白：十二年来，安德森一直在努力克服费城音乐学校随意设置的障碍。

She had been denied the opportunity to study music, and no amount of talent or hard work could disguise the fact.

她被剥夺了学习音乐的机会，再多的天赋或努力也无法掩盖这一事实。

She retreated from the music scene.

她退出了乐坛。

Narrator: Anderson’s seclusion lasted for months, until self-doubt gave way to a new realization: “Music was something that I sort of had to do,” she said.

旁白：安德森的隐居持续了几个月，直到自我怀疑让位于一种新的认识：“音乐是我不得不做的事情，”她说。

“It wouldn't let me rest.” Her return to the grind of small tours only convinced Anderson that her future lay elsewhere.

“它不让我休息。”她重返小型巡演的苦差事，只是让安德森相信她的未来在别处。

On the evening of October 22, 1927, Marian Anderson gathered her bags, made way to the piers on Manhattan’s west side, and boarded the Ile de France as it sailed for England, and a new beginning.

1927年10月22日晚，玛丽安·安德森收拾行李，前往曼哈顿西侧的码头，登上法兰西岛号，驶向英国，一个新的开始。

Kira Thurman, Historian: If she kept going as she did in the United States, she would only sort of have access to certain music halls, to certain teachers, to certain audiences.

基拉·瑟曼，历史学家：如果她继续像在美国那样，她只能进入某些音乐厅、某些老师、某些观众。

She was already starting to see the successes of other African-American musicians in Europe.

她已经开始看到欧洲其他非裔美国音乐家的成功。

Roland Hayes //was already there, and by 1924, he was making about a hundred thousand dollars a year.

罗兰·海斯 (Roland Hayes) 已经在那里了，到 1924 年，他的年收入约为 10 万美元。

So why not go?

那为什么不去呢？

Angela Brown, Opera Singer: The lack of formal education in music always dogged her in the back of her mind ah that she wasn't good enough, that she couldn't speak different languages well enough, that she didn't know everything that her white cohorts knew.

安吉拉·布朗，歌剧歌手：缺乏正规的音乐教育总是在她的脑海中困扰着她，她不够好，她不能很好地讲不同的语言，她不知道她的白人同伴所知道的一切。

She decided to educate herself where a Black person could excel.

她决定在黑人可以擅长的领域进行自我教育。

Narrator: Anderson’s journey began with some time-honored rites of passage for American tourists abroad: while still at sea she was insulted by one of the ship’s French waiters for ordering her steak very well done.

旁白：安德森的旅程始于美国游客在国外的一些历史悠久的成人仪式：当她还在海上时，她因为点了熟透的牛排而受到船上一位法国服务员的侮辱。

“He looked at me in disgust,” she recounted,” and said, ‘You could never be the wife of a Frenchman.’” Anderson’s first stop was London, where Roland Hayes had lined up teachers, housing and introductions.

“他厌恶地看着我，”她回忆道，“然后说，‘你永远不可能成为法国人的妻子。’”安德森的第一站是伦敦，罗兰·海耶斯在那里安排了老师、住房和介绍。

Although the city was hardly free of racism, it wasn’t so ubiquitous, and rarely so dangerous as in the U.S.

尽管这座城市几乎没有种族主义，但它并不像美国那么普遍，也很少如此危险。

Kira Thurman, Historian: She could stay at any hotel.

基拉·瑟曼，历史学家：她可以住在任何酒店。

She could walk into any shop and not sort of face harassment.

她可以走进任何商店而不会受到脸部骚扰。

And then on top of that, she's finding this really vibrant, active Black community.

最重要的是，她发现了这个真正充满活力、活跃的黑人社区。

Adriane Lentz-Smith, Historian: London has its own imperial history, but that also means it has other Black communities and a fertile and bubbling politics of imperial critique or Black solidarity.

阿德里亚娜·伦茨-史密斯，历史学家：伦敦有自己的帝国历史，但这也意味着它有其他黑人社区，以及帝国批判或黑人团结的丰富而活跃的政治。

Whether you buy into it or not, you're exposed to it, and it starts moving blinders off what you imagine Black folks can do in the world.

无论你是否相信它，你都会接触到它，它开始让你对黑人在世界上可以做的事情感到困惑。

There is this eye-popping sense of possibility.

有一种令人眼花缭乱的可能性。

Narrator: The entanglements of Anderson’s old life were slipping away.

旁白：安德森旧生活中的纠葛正在逐渐消失。

Orpheus Fisher had started writing again after his first marriage fell apart.

奥菲斯·费舍尔在第一次婚姻破裂后重新开始写作。

But for now, his letters went unanswered.

但目前，他的信尚未得到答复。

In London, and later in Berlin, Anderson plunged into the education she had been denied at home.

在伦敦，后来在柏林，安德森投入了她在家里无法接受的教育。

MUSIC: Anderson sings “Der Tod und das Madchen”

音乐：安德森演唱“Der Tod und das Madchen”

Carol Oja, Musicologis: Her use of her voice became more sophisticated.

卡罗尔·奥贾（Carol Oja），《音乐学》：她对声音的运用变得更加复杂。

Her capacity to deal with foreign language texts, especially German, was enhanced a lot.

她处理外文尤其是德语的能力得到了很大的提高。

In general, she grew as an artist.

总的来说，她成长为一名艺术家。

A sort of edge came to her work that hadn't, hadn't been possible before.

她的作品中出现了一种以前从未有过的优势。

Lucy Caplan, Cultural Historian: She could do anything from a much lower female vocal range to the highest notes.

露西·卡普兰（Lucy Caplan），文化历史学家：她可以做任何事情，从低音女声到最高音。

But the kind of home of her voice was in this lower range.

但她声音的归属感就在这个较低的范围内。

And that's what really made her stand out.

这才是真正让她脱颖而出的原因。

Narrator: This new Marian Anderson began performing more frequently, and audiences took notice.

旁白：这位新的玛丽安·安德森开始更频繁地表演，引起了观众的注意。

Leslie Ureña, Associate Curator, National Portrait Gallery: She goes to Finland and Sweden and it was really quite amazing how she caught on.

Leslie Ureña，国家肖像画廊副馆长：她去了芬兰和瑞典，她的流行程度真是令人惊讶。

She just has this wild following.

她有这么多疯狂的追随者。

Narrator: Anderson toured Scandinavia for seven months non-stop, one hundred and sixteen concerts.

旁白：安德森在斯堪的纳维亚半岛不间断地巡演了七个月，举办了一百一十六场音乐会。

The papers called it, “Marian fever.”

报纸称其为“玛丽热”。

Leslie Ureña, Associate Curator, National Portrait Gallery: I love the idea of that, in the early 30s that people are catching this fever.

Leslie Ureña，国家肖像画廊副馆长：我喜欢这个想法，在 30 年代初期，人们开始流行这种狂热。

She was almost in a different city every day, even giving multiple recitals a day.

她几乎每天都在不同的城市，甚至一天举办多场独奏会。

Alisha Jones, Ethnomusicologist: Her time in Europe allowed her to have many experiences, one of which is the opportunity to come of age to get that backpack moment where you get to explore and just be.

Alisha Jones，民族音乐学家：她在欧洲的经历让她获得了很多经历，其中之一就是有机会在成年后获得背包时刻，在那里你可以探索并享受其中。

Narrator: In May of 1934 Anderson arrived in Paris: still the capital of European art, and a far more intimidating prospect for a young artist than Helsinki or Stockholm.

旁白：1934 年 5 月，安德森抵达巴黎：巴黎仍然是欧洲艺术之都，对于年轻艺术家来说，巴黎的前景比赫尔辛基或斯德哥尔摩更令人生畏。

Anderson’s first concert there was poorly attended, but then word began to spread.

安德森在那里举行的第一场音乐会入场人数很少，但随后消息开始传播开来。

A second concert almost sold out, and the third was a sensation.

第二场演唱会门票几乎售罄，第三场演唱会轰动一时。

“It can safely be said,” one critic wrote,” that Marian Anderson triumphed through sheer artistry.”

“可以肯定地说，”一位评论家写道，“玛丽安·安德森凭借纯粹的艺术性取得了胜利。”

As further confirmation that she had arrived, in Paris Anderson signed on with the most successful talent agent in the world.

为了进一步确认她的到来，安德森在巴黎与世界上最成功的人才经纪人签约。

When she had approached Sol Hurok a few years earlier, he wasn’t interested.

几年前，当她接近索尔·胡洛克时，他并不感兴趣。

Now this rising star was a very different proposition.

现在，这位后起之秀是一个非常不同的主张。

Carol Oja, Musicologist: Sol Hurok was the most prominent impresario of his day.

卡罗尔·奥贾 (Carol Oja)，音乐学家：索尔·胡洛克 (Sol Hurok) 是他那个时代最杰出的指挥家。

And they formed this very trusting alliance.

他们组成了这个非常信任的联盟。

He treated her with the kind of dignity and respect that she deserved.

他以她应得的尊严和尊重对待她。

Narrator: Anderson circled back through Scandinavia, then Leningrad, Vienna, Prague, Budapest, Rome.

旁白：安德森绕回斯堪的纳维亚半岛，然后是列宁格勒、维也纳、布拉格、布达佩斯、罗马。

Her career was booming, she was making real money, she was young and beautiful.

她的事业蒸蒸日上，赚到了实实在在的钱，而且年轻又漂亮。

Kira Thurman, Historian: There were so many men following her around [laughs].

基拉·瑟曼，历史学家：有很多男人跟着她[笑]。

And She totally knew it.

她完全知道这一点。

There was definitely a baron.

肯定有一位男爵。

And this might perhaps be shocking, but I think she kind of strung him along.

这也许令人震惊，但我认为她有点让他上当。

So he just followed her around like a lovesick puppy.

所以他就像一只患相思病的小狗一样跟着她。

There are all kinds of different accounts of suitors everywhere that she went.

她所到之处，都有各种不同的追求者记述。

We've kind of made Marian Anderson out to be a saint, because she sort of presented herself with so much dignity.

我们把玛丽安·安德森塑造成一个圣人，因为她表现得非常有尊严。

But she was a flesh and blood woman.

但她是一个有血有肉的女人。

Music: Anderson sings Schumann, “Helft Mir Ihr Schwestern”

音乐：安德森演唱舒曼《Helft Mir Ihr Schwestern》

Jillian Patricia Pirtle, CEO, Marian Anderson Museum: She was a tall woman.

Jillian Patricia Pirtle，玛丽安安德森博物馆首席执行官：她是一位高个子女性。

She had this lovely, coarse, curly hair that she would like to put in finger wave curls of the 1920s.

她有一头可爱的粗卷发，她想把它做成 20 年代的手指波浪卷发。

And she kept that look basically most of her life [laughs] because it was sophisticated, it was elegant, it was modest.

她一生中的大部分时间基本上都保持着这种造型（笑），因为它很精致，很优雅，很谦虚。

And there wasn't a day that passed, when she finally could afford it, that she didn’t wear red nail polish.

当她终于买得起的时候，她没有一天不涂红色指甲油。

Carol Oja, Musicologist: The recognition that she received in Europe just made a huge difference, not only in her career, but in her sense of herself.

卡罗尔·奥哈（Carol Oja），音乐学家：她在欧洲获得的认可不仅对她的职业生涯，而且对她的自我意识产生了巨大的影响。

She was no longer a struggling girl from Philadelphia, she was a singer of renown.

她不再是一个来自费城的苦苦挣扎的女孩，她是一位著名的歌手。

Suddenly she was a diva.

突然间，她成了一位女主角。

Narrator: In June of 1934, while Anderson was conquering Paris, seventeen of Germany’s leading lawyers gathered in Berlin to draft a set of laws for the country’s new government.

旁白：1934 年 6 月，当安德森征服巴黎时，十七位德国顶尖律师齐聚柏林，为该国新政府起草一套法律。

Adolf Hitler’s Nazis had taken power the previous year, promising a new racial order.

阿道夫·希特勒的纳粹于前一年掌权，承诺建立新的种族秩序。

The conference began with a lengthy presentation on the race laws of the United States, “the one country,” Hitler had said, that was making progress toward his vision of a racist society.

会议首先长篇大论地介绍了美国的种族法，希特勒曾说，美国是“一个国家”，正在朝着他的种族主义社会愿景迈进。

America’s implementation of second-class citizenship for non-whites, its laws on racial classification, immigration, segregation, and miscegenation were all studied and debated by the men who were writing what became known as the Nuremburg Race Laws.

美国对非白人实行二等公民身份，关于种族分类、移民、种族隔离和通婚的法律都被那些起草了后来被称为《纽伦堡种族法》的人研究和辩论过。

Adriane Lentz-Smith, Historian: You see Europe go from being a place of possibility, of ferment of unburdening and freedom to, doors closing, to things in the 1930s that look like cousins of Jim Crow.

阿德里安·伦茨-史密斯 (Adriane Lentz-Smith)，历史学家：你会看到欧洲从一个充满可能性、充满卸载和自由的地方，到 20 世纪 30 年代大门紧闭的地方，看起来就像种族隔离制度的表兄弟。

Kira Thurman, Historian: With the rise of the Nazi party and with the rise of far right racism and nationalism, being a person of color in Europe was becoming increasingly difficult.

历史学家基拉·瑟曼：随着纳粹党的崛起以及极右种族主义和民族主义的兴起，在欧洲成为有色人种变得越来越困难。

It's not just anti-Semitism that's a problem, even though that is, of course, a real problem.

不仅仅是反犹太主义是一个问题，尽管这当然是一个真正的问题。

There's also the problem of anti-Black racism on the ground.

当地还存在反黑人种族主义的问题。

Being a Black woman walking around on the streets just meant that you had a target on your back all the time.

作为一名在街上走来走去的黑人女性就意味着你的背上一直都有一个目标。

Narrator: By 1935 Anderson had been effectively barred from Germany for being insufficiently Aryan, and then excluded from Austria’s prestigious Salzburg Music Festival.

旁白：到 1935 年，安德森因不够雅利安人身份而实际上被禁止进入德国，随后又被排除在奥地利著名的萨尔茨堡音乐节之外。

A friend there defied the authorities by arranging for her to sing in the ballroom of a Salzburg hotel.

那里的一位朋友藐视当局，安排她在萨尔茨堡一家酒店的舞厅唱歌。

Anderson insisted on keeping the date, even though the last Black singer who had performed in the city had been run out by Nazi thugs.

安德森坚持保留这一日期，尽管最后一位在该市演出的黑人歌手已被纳粹暴徒赶走。

Lucy Caplan, Cultural Historian: Marian Anderson was never going to have a place that she could walk into without having to really fight for it.

露西·卡普兰（Lucy Caplan），文化历史学家：玛丽安·安德森（Marian Anderson）永远不会有一个她不需要真正为之奋斗就能走进去的地方。

But her sense of being true to herself, of letting her actions and her artistry speak for themselves, is what I find most impressive about her.

但她对自己的真实感，让她的行动和艺术才华不言而喻的感觉，是我对她最印象深刻的地方。

Kira Thurman, Historian: Marian Anderson is willing to show up, and she must to show up, to indicate that she is not going to accept the terms of social inequality, of artistic inequality.

基拉·瑟曼，历史学家：玛丽安·安德森愿意出现，而且她必须出现，以表明她不会接受社会不平等和艺术不平等的条款。

I think that says a lot about who she was, her insistence on demonstrating her dignity in the midst of such harsh racial oppression and violence.

我认为这充分说明了她是谁，她在如此严厉的种族压迫和暴力中坚持展示自己的尊严。

Narrator: News of Anderson’s concert spread through Salzburg; anti-fascist musicians made it a point to attend.

旁白：安德森演唱会的消息传遍了萨尔茨堡；反法西斯音乐家特别强调要参加。

Kira Thurman, Historian: It was a political gesture, a sort of thumbing their nose, so to speak, at the Salzburg Festival.

历史学家基拉·瑟曼：这是一种政治姿态，可以说是在萨尔茨堡音乐节上对他们嗤之以鼻。

She's in front of, like, the elite musicians.

她就像是在精英音乐家面前。

Bruno Walter, Arturo Toscanini, Lotte Lehmann, I mean, all of these sort of huge superstars are sitting front row in her concert.

布鲁诺·沃尔特、阿图罗·托斯卡尼尼、洛特·莱曼，我的意思是，所有这些巨星都坐在她音乐会的前排。

I mean, that's that's wild.

我的意思是，这太疯狂了。

Alisha Jones, Ethnomusicologist: Toscanini was the rock star among conductors, one of the towering figures in the operatic scene of the time.

艾丽莎·琼斯，民族音乐学家：托斯卡尼尼是指挥家中的摇滚明星，是当时歌剧界的杰出人物之一。

Narrator: Toscanini was a towering personality on and offstage: an outspoken critic of Mussolini, he refused to ever play the fascist anthem, even after being beaten in the street by supporters of the dictator.

旁白：托斯卡尼尼在台上台下都是一位杰出人物：他直言不讳地批评墨索里尼，即使在街上被独裁者的支持者殴打后，他也拒绝演奏法西斯国歌。

And now he was waiting to hear Marian Anderson.

现在他正在等待玛丽安·安德森的发言。

“I was in quite a state by the time I went up on the stage,” Anderson remembered.

“当我登上舞台时，我的状态非常好，”安德森回忆道。

“I knew that this was the supreme offering, one might hope to give.”

“我知道这是一个人可能希望给予的至高无上的奉献。”

Narrator: “Hardly anybody in the audience understood English well enough to follow what she was saying,” a spectator wrote, “and yet the immense sorrow was enough.

旁白：“观众中几乎没有人能很好地理解英语，听不懂她在说什么，”一位观众写道，“但巨大的悲伤已经足够了。

What Anderson did was outside the limits of music.”

安德森所做的事情超出了音乐的范围。”

Following her performance, Anderson was flustered to see Toscanini making his way through the throng of admirers.

演出结束后，安德森看到托斯卡尼尼在众多崇拜者中脱颖而出，感到很慌张。

“What I heard today,” he told her, “one is privileged to hear only once in a hundred years.” In Sol Hurok’s hands, it became Marian Anderson’s catchphrase: from that day forward she would be known as, “The Voice of the Century.”

“我今天听到的，”他告诉她，“一个人有幸一百年才听到一次。”在索尔·胡洛克（Sol Hurok）的手中，这成为玛丽安·安德森（Marian Anderson）的口号：从那天起，她将被称为“世纪之声”。

Homecoming: Narrator: At the end of 1935, Anderson boarded the Ile de France once more, and sailed for home.

归乡：旁白：1935年底，安德森再次登上法兰西岛，启航回家。

Her new manager, Sol Hurok, had convinced the singer to begin the homecoming tour at New York’s Town Hall, where her career had nearly ended twelve years before.

她的新经纪人索尔·胡洛克说服这位歌手在纽约市政厅开始返校巡演，十二年前她的职业生涯几乎就在那里结束了。

“Let it be said at the outset,” the New York Times proclaimed, “Marian Anderson has returned to her native land one of the great singers of our time.

《纽约时报》宣称：“首先要说的是，玛丽安·安德森作为我们这个时代最伟大的歌手之一回到了她的祖国。

In the last four years Europe has acclaimed this tall, handsome girl.

过去四年来，欧洲对这位高大英俊的女孩赞不绝口。

It is time for her own country to honor her.” Even the notoriously self-critical singer allowed herself a little praise: “there were some songs,” she admitted, “which I definitely felt were not badly done.” From New York, to an emotional homecoming concert in Philadelphia, back to New York for a packed show at Carnegie Hall: Anderson was a sensation.

现在是她自己的国家向她致敬的时候了。”即使是这位以自我批评着称的歌手也对自己进行了一些赞扬：“有一些歌曲，”她承认，“我绝对觉得做得不错。”从纽约到费城一场感人的返校音乐会，再回到纽约卡内基音乐厅一场拥挤的演出：安德森引起了轰动。

Kira Thurman, Historian: It must have been surreal.

历史学家基拉·瑟曼：这一定是超现实的。

She had been trying and working so hard and for so long to establish herself as a serious artist and then to have her career kind of explode and become even bigger than perhaps she'd even imagined.

她一直在努力、努力地工作这么长时间，以将自己打造成一名严肃的艺术家，然后让她的职业生涯爆发，变得比她想象的还要伟大。

Lucy Caplan, Cultural Historian: I think it was a whirlwind, being catapulted into this touring life that was so different from the life she'd had before leaving.

露西·卡普兰（Lucy Caplan），文化历史学家：我认为这是一场旋风，她被卷入了这种与她离开前的生活截然不同的巡演生活。

These were not the kind of stay with someone who is part of the church and pay your own travel challenges she had faced earlier.

这不是她之前遇到的那种与教会成员住在一起并自己支付旅行费用的住宿方式。

This was a much more kind of elite and comfortable situation.

这是一种更加精英和舒适的情况。

Angela Brown, Opera Singer: To come home and see your face in the New York Times, and everybody knows your name when you walk into a room.

安吉拉·布朗（Angela Brown），歌剧歌手：回到家，在《纽约时报》上看到你的脸，当你走进一个房间时，每个人都知道你的名字。

I could imagine that was a time that was heady.

我可以想象那是一个令人兴奋的时刻。

Narrator: Anderson was more famous than ever, billed - with a nod to Toscanini - as the Voice of the Century.

旁白：安德森比以往任何时候都更加出名，被称为“世纪之声”，向托斯卡尼尼致敬。

She was rich, too: in 1938 Anderson earned $238,000, while the average American was making $7000 a year.

她也很富有：1938 年，安德森的收入为 238,000 美元，而美国人的平均年收入为 7000 美元。

But for all that, she was still a second-class citizen in her own country.

但尽管如此，她在自己的国家仍然是二等公民。

Adriane Lentz-Smith, Historian: It's always good to have money, right?

Adriane Lentz-Smith，历史学家：有钱总是好的，对吧？

But she is still Black and she is still a woman.

但她仍然是黑人，她仍然是女性。

And so she is still vulnerable to the pettiness, to the dictates over where she can perform and where she can't perform.

因此，她仍然很容易受到琐事的影响，容易受到她在哪里可以表演、什么地方不能表演的支配。

Lucy Caplan, Cultural Historian: Hurok would make all these travel arrangements so that she would be less subject to the indignities of Jim Crow travel in the United States.

露西·卡普兰（Lucy Caplan），文化历史学家：胡罗克（Hurok）会做出所有这些旅行安排，以便她在美国旅行时不会受到种族隔离的侮辱。

It didn't always work.

它并不总是有效。

She would often eat meals in her hotel room so as not to have to navigate the world of segregated restaurants in various places.

她经常在酒店房间里吃饭，这样就不必在各地隔离的餐馆里穿梭。

Narrator: Everywhere she traveled in America, the color of Anderson’s skin shaped the way she ate, slept, socialized, and worked.

旁白：无论她在美国旅行过什么地方，安德森的肤色都影响着她的饮食、睡眠、社交和工作方式。

In the South, except for a few big cities, she was limited to the old circuit of Black colleges and churches.

在南方，除了少数大城市外，她仅限于黑人学院和教堂的旧圈子。

Elsewhere the practice of segregation was mind-numbingly complex.

在其他地方，种族隔离的做法极其复杂。

Carol Oja, Musicologist: Segregation varied from city to city, state to state, decade to decade.

卡罗尔·奥贾（Carol Oja），音乐学家：种族隔离因城市、州、州、十年而异。

There were endless varieties.

品种无穷无尽。

A performer crossing a state line could go from one world to another.

跨越州界的表演者可以从一个世界到达另一个世界。

Lucy Caplan, Cultural Historian: Many, many, many halls and not just in the South were segregated, but they were not all segregated in the same way.

文化历史学家露西·卡普兰（Lucy Caplan）：许多很多大厅（不仅仅是南方）都被隔离，但它们并非都以同样的方式隔离。

There were kind of two systems known as horizontal and vertical segregation, meaning whether the hall was kind of split down the middle or horizontal, which is orchestra section vs. balcony section.

有两种系统称为水平和垂直隔离，这意味着大厅是从中间还是水平分开，即管弦乐队部分与阳台部分。

Narrator: One way or another, every time Anderson walked onstage, she looked out over an audience that had been sorted in some fashion by race.

旁白：不管怎样，每次安德森走上舞台时，她都会注视着按种族以某种方式分类的观众。

Kira Thurman, Historian: Marian Anderson was not somebody who was ever very comfortable speaking out on the profound problems of institutional racism in the United States.

基拉·瑟曼，历史学家：玛丽安·安德森并不是一个愿意公开谈论美国制度性种族主义的深刻问题的人。

Her activism centered very much on her musicianship, on her insistence on being understood and treated as an artist at a time when in the United States and around the world, there's such a strong denial of Black creativity and Black genius and Black excellence.

她的激进主义主要集中在她的音乐才能上，集中在她坚持被理解和被视为艺术家的态度上，而在美国和世界各地，黑人创造力、黑人天才和黑人卓越都受到如此强烈的否认。

Narrator: Anderson almost always kept her guard up, but she was moved to tears onstage one evening, while singing a spiritual.

旁白：安德森几乎总是保持警惕，但有一天晚上，她在舞台上唱一首圣歌时感动得流下了眼泪。

And I saw an army of people who were bowed down...

我看到了一群被跪拜的人......

whose only solace…

谁唯一的安慰……

whose only way of being free, was to march along on this road.

他们获得自由的唯一途径，就是沿着这条路前进。

Carol Oja, Musicologist: In April of 1939 there is a letter to the editor in The New York Times, written by someone in Houston.

卡罗尔·奥哈 (Carol Oja)，音乐学家：1939 年 4 月，休斯敦的某人写了一封给《纽约时报》编辑的信。

And according to him, when Anderson came onstage, she politely looked at the white side very quickly.

而且据他说，当安德森上台的时候，她很快就礼貌地看向了白方。

Narrator: “Miss Anderson then turned deliberately toward those of her own race,” the author continued, “and bowed very low and long.

旁白：“然后，安德森小姐故意转向她的同族人，”作者继续说道，“深深地鞠了一躬。

It was the most beautiful and most queenly gesture I’ve ever seen.”

这是我见过的最美丽、最女王般的姿态。”

Adriane Lentz-Smith, Historian: Offering herself to that white audience with the minimum amount of deference versus offering herself to the Black audience in a kind of bow that says, “I see you and I'm with you,” you think, that speaks volumes.

阿德里安·伦茨-史密斯，历史学家：以最低限度的尊重向白人观众展示自己，而不是向黑人观众鞠躬，说“我看到你，我和你在一起”，你认为这很有意义。

It allows people to see a way both to maneuver segregation with dignity, but also on some level to begin flicking at its edges so that it's not as fully intact at the end of the evening as it was at the beginning.

它让人们看到了一种既能有尊严地操纵种族隔离的方法，又能在某种程度上开始打破它的边缘，这样它在晚上结束时就不会像开始时那样完全完好无损。

And I think that that is strategic, it's subtle and I think it's admirable.

我认为这是战略性的、微妙的，而且我认为这是令人钦佩的。

Narrator: In January of 1939, while Anderson was away on a concert tour, a series of events began unfolding in Washington that would pull her to the center of the fight for civil rights, and change her life forever.

旁白：1939 年 1 月，当安德森外出巡回演唱会时，华盛顿发生了一系列事件，这些事件将她拉到了民权斗争的中心，并永远改变了她的生活。

Prior to the tour, Anderson had agreed to sing a benefit for Howard University - a bastion of Black culture and activism - on April 9th, Easter Sunday.

在巡演之前，安德森同意在 4 月 9 日复活节周日为霍华德大学（黑人文化和激进主义的堡垒）演唱一首歌曲。

Lucy Caplan, Cultural Historian: Anderson performed a lot of concerts at Black institutions as a way of kind of maintaining that connection to Black audiences.

露西·卡普兰，文化历史学家：安德森在黑人机构举办了很多音乐会，作为与黑人观众保持联系的一种方式。

She had been the recipient of so much support from churches and Black organizations.

她得到了教会和黑人组织的大力支持。

Now she was kind of giving back.

现在她有点回馈了。

Narrator: The trick for the administrators at Howard was finding a venue that would hold the kind of crowd Anderson was sure to draw.

旁白：霍华德学院管理人员的诀窍是找到一个能够容纳安德森肯定会吸引的人群的场地。

Carol Oja, Musicologist: This is before the Kennedy Center existed.

卡罗尔·奥贾（Carol Oja），音乐学家：这是在肯尼迪中心存在之前。

Big venues which were intended to be concert halls for the people had not yet been built.

原本打算成为人民音乐厅的大型场馆尚未建成。

So that in Washington, D.C., for any major performer, for a symphony orchestra, an opera company, anything of the sort, Constitution Hall was it.

因此，在华盛顿特区，对于任何主要表演者、交响乐团、歌剧团或任何类似的东西来说，宪法厅就是它。

Narrator: Constitution Hall had been built in the late 1920s by the Daughters of the American Revolution to host their annual conventions.

旁白：宪法厅是 1920 年代末由美国革命之女们建造的，用于举办年度大会。

When the DAR wasn’t using it, the thirty-seven-hundred seat venue was rented to performers they considered suitably wholesome, cultured...and white.

当 DAR 不使用时，这个拥有 3700 个座位的场地被租给他们认为健康、有文化……并且是白人的表演者。

Lucy Caplan, Cultural Historian: Segregation in Washington theaters and entertainment spaces was pervasive but not consistent.

文化历史学家露西·卡普兰：华盛顿剧院和娱乐场所的种族隔离现象普遍存在，但并不一致。

There were a lot of halls that would allow Black performers, but not Black audiences.

有很多大厅允许黑人表演者，但不允许黑人观众。

And then there were some halls like Constitution Hall that would only allow white performers.

还有一些大厅，例如宪法厅，只允许白人表演。

Narrator: Howard University decided to test the DAR’s whites-only policy, hoping that they would make an exception for the highest paid singer in the world, the Voice of the Century.

旁白：霍华德大学决定测试 DAR 仅限白人的政策，希望他们能为世界上收入最高的歌手、世纪之声破例。

The reply was swift, and blunt.

答复迅速而直率。

The rejection was both commonplace and appalling - even by the standards of Jim Crow, the insult to Anderson stood out.

这种拒绝既常见又令人震惊——即使按照吉姆·克劳的标准，对安德森的侮辱也很突出。

The head of the National Association for the Advancement of Colored People, Walter White, couldn’t let it go.

全国有色人种协进会主席沃尔特·怀特对此无法释怀。

White had grown up in Atlanta defined by law and custom as “colored,” despite his blond hair and blue eyes.

怀特在亚特兰大长大，尽管他有金色的头发和蓝色的眼睛，但根据法律和习俗，他被定义为“有色人种”。

But for White, any doubts about his own identity were burned away when he was ten years old, during the Atlanta Massacre of 1906.

但对于怀特来说，当他十岁时，在 1906 年亚特兰大大屠杀期间，对自己身份的任何怀疑都烟消云散了。

Adriane Lentz-Smith, Historian: He writes in his autobiography of mobs advancing on his neighborhood, advancing on his family home.

阿德里安·伦茨·史密斯（Adriane Lentz-Smith），历史学家：他在自传中写道，暴徒向他的社区、他的家发起进攻。

That, for him, is a formative moment.

对他来说，这是一个形成的时刻。

Walter White could have passed out of the travails and troubles of African-American-ness if he chose to.

如果沃尔特·怀特愿意的话，他本可以摆脱非裔美国人的痛苦和麻烦。

But he didn't.

但他没有。

That kind of commitment to the Black freedom struggle and to Blackness itself is really significant.

这种对黑人自由斗争和黑人本身的承诺非常重要。

Narrator: In 1918, when White was twenty-four-years-old, he took a job with the NAACP in New York.

旁白：1918 年，24 岁的怀特在纽约的全国有色人种协进会找到了一份工作。

The organization had been created nine years earlier by a small, interracial group of reformers, to promote social and political equality.

该组织是九年前由一小群跨种族改革者创建的，旨在促进社会和政治平等。

There were just six full-time staff members at the main office, waging an unequal struggle against White supremacy.

总部只有六名全职工作人员，对白人至上主义进行着不平等的斗争。

White played a unique role, risking his life to expose the depravity at the heart of America’s racial order.

怀特发挥了独特的作用，冒着生命危险揭露了美国种族秩序核心的腐败现象。

Allida Black, Historian: He would investigate lynchings by passing as white.

阿莉达·布莱克，历史学家：他会冒充白人来调查私刑。

And he would stay until people really ran him out, and then he would haul butt to Washington or to New York with eyewitness reports, to document this incredibly violent and shocking issue.

他会留下来，直到人们真正把他赶出去，然后他会带着目击者报告将屁股拖到华盛顿或纽约，记录这个令人难以置信的暴力和令人震惊的问题。

Narrator: White chronicled the Red Summer of 1919.

旁白：怀特记录了 1919 年的红色夏天。

He’d been in Chicago to report on the rioting that enveloped Marian Anderson’s concert there.

他去芝加哥报道玛丽安·安德森演唱会发生的骚乱。

During The Harlem Renaissance of the 1920s White was was at the heart of the NAACP’s campaign to promote Black artists.

在 20 年代的哈莱姆文艺复兴期间，怀特是全国有色人种协进会推广黑人艺术家运动的核心。

So he was in Town Hall that night in the Spring of 1925; watched Marian Anderson endure her painful setback.

1925 年春天的那天晚上，他在市政厅。看着玛丽安·安德森忍受痛苦的挫折。

He helped coax her back to the stage then by inviting her to sing at an NAACP gathering.

然后，他邀请她在全国有色人种协进会聚会上唱歌，帮助她回到舞台。

As the years passed and White took over the leadership of the organization, he continued to follow her career, as he said, "with more than ordinary interest.” So when Howard University called about her concert in the winter of 1939, he was all ears.

随着时间的流逝，怀特接管了该组织的领导权，正如他所说，他继续关注她的职业生涯，“怀着超乎寻常的兴趣”。因此，当霍华德大学 1939 年冬天打电话来询问她的音乐会时，他洗耳恭听。

Adriane Lentz-Smith, Historian: Marian Anderson would have appealed to Walter White because her music was more high art than low.

阿德里安·伦茨·史密斯，历史学家：玛丽安·安德森会吸引沃尔特·怀特，因为她的音乐更多的是高雅艺术而不是低俗艺术。

This wasn't race music.

这不是赛车音乐。

This wasn't jazz.

这不是爵士乐。

It wasn't blues.

这不是布鲁斯。

She spoke across race lines in a way that nicely dovetailed with the NAACP's vision of itself and its mission.

她跨越种族界线的讲话方式与全国有色人种协进会的自身愿景及其使命完美契合。

Narrator: Although Anderson embodied the NAACP’s ideals, her case wasn’t tailor made for the organization.

旁白：虽然安德森体现了全国有色人种协进会的理想，但她的案例并不是为该组织量身定做的。

Picking a public fight with a well-connected, private group was not their line of work.

与一个人脉广泛的私人团体进行公开斗争不是他们的工作范围。

But the civil rights landscape was being reshaped by events overseas.

但海外事件正在重塑民权格局。

Kira Thurman, Historian: By 1939, African-Americans were drawing parallels between what they called Nazi German Jim Crow laws and Jim Crow laws in the United States.

历史学家基拉·瑟曼：到 1939 年，非裔美国人开始将他们所谓的纳粹德国种族隔离法与美国的种族隔离法进行比较。

Newsreel Reporter: New York.

新闻片记者：纽约。

One hundred thousand parade in great protest against Hitler’s treatment of the Jews in Germany.

十万人游行，强烈抗议希特勒对待德国犹太人的方式。

Sharon Vriend, Historian: Many European Americans wanted to distance themselves from Nazism, which was on the rise within Germany and other parts of Europe.

历史学家莎伦·弗里恩德：许多欧洲裔美国人希望与纳粹主义保持距离，纳粹主义在德国和欧洲其他地区正在兴起。

And that, of course, is a challenge because the racist structures within the United States were not dissimilar than Nazi Germany in 1939.

当然，这是一个挑战，因为美国境内的种族主义结构与 1939 年的纳粹德国没有什么不同。

Adriane Lentz-Smith, Historian: Think about the symbology of it being Constitution Hall, the fact that it's the Daughters of the American Revolution.

阿德里安·伦茨-史密斯，历史学家：想想它作为宪法大厅的象征意义，事实上它是美国革命的女儿们。

You can sort of draw on it rhetorically to point out America's hypocrisy, to remind white Americans of their stated ideals.

你可以用修辞手法来指出美国的虚伪，提醒美国白人他们所宣称的理想。

Marian Anderson is this beautiful symbol of what America could be in a moment when the politics of anti-fascism are playing in with the politics of anti-racism.

玛丽安·安德森是反法西斯主义政治与反种族主义政治相互交织的时刻美国的美丽象征。

Narrator: The NAACP was in.

旁白：全国有色人种协进会成立了。

White started working the phones.

怀特开始使用电话。

It was a measure of his network that one of his first calls was to the White House, and the DAR’s most illustrious, most reluctant member.

他的第一个电话就是打给白宫，也是 DAR 最杰出、最不情愿的成员，这也是对他的网络的一种衡量。

Allida Black, Historian: By the late ‘30s, Eleanor Roosevelt had a close personal friendship with Walter White, so close that they would call each other Walter and Eleanor, which is so rare for both of them.

阿莉达·布莱克（Allida Black），历史学家：到了三十年代末，埃莉诺·罗斯福与沃尔特·怀特（Walter White）建立了亲密的私人友谊，以至于他们互相称呼对方为沃尔特（Walter）和埃莉诺（Eleanor），这对他们两人来说都是罕见的。

Walter White knows that Eleanor's ties with the DAR are loose at best.

沃尔特·怀特 (Walter White) 知道埃莉诺 (Eleanor) 与 DAR 的关系充其量是松散的。

Eleanor did not even fill out her own application to the DAR; she just signed it.

埃莉诺甚至没有填写自己向 DAR 提交的申请；她刚刚签了字。

So Walter White says, “OK, will you resign?

所以沃尔特·怀特说：“好吧，你愿意辞职吗？

Will you resign?”

你会辞职吗？”

Narrator: Roosevelt turned down White’s suggestion, but lent her name to the cause, kicking off a campaign to pressure the DAR.

旁白：罗斯福拒绝了怀特的建议，但将她的名字借给了这项事业，发起了一场向 DAR 施压的运动。

Secretary of the Interior Harold Ickes appealed to the DAR directly, as did Sol Hurok.

内政部长哈罗德·伊克斯（Harold Ickes）和索尔·胡洛克（Sol Hurok）直接向 DAR 提出上诉。

Meanwhile some of the most famous musicians in the world - at White’s urging - began denouncing the DAR, and the controversy surfaced in the press.

与此同时，世界上一些最著名的音乐家在怀特的敦促下开始谴责 DAR，媒体上也出现了争议。

“[Constitution Hall] stands almost in the shadow of the Lincoln Memorial,” the Washington Times-Herald declared, “but the Great Emancipator’s sentiments are not shared by the Daughters.

“[宪法大厅]几乎矗立在林肯纪念堂的阴影下，”《华盛顿时报先驱报》宣称，“但女儿们并不认同伟大解放者的情感。

Prejudice rules to comfort Hitler and the members of our Nazibund.” Still, there was no response from the Daughters.

偏见规则是为了安慰希特勒和我们纳粹联盟的成员。”然而，女儿们仍然没有回应。

Narrator: The DAR had every reason to feel invulnerable.

旁白：DAR 有充分的理由感到无懈可击。

A whites-only policy was hardly unusual in Washington: not only were most performance spaces segregated, so were schools, hotels, movie theaters, restaurants, the federal government itself.

仅限白人的政策在华盛顿并不罕见：不仅大多数表演场所都是种族隔离的，学校、酒店、电影院、餐馆和联邦政府本身也是如此。

Segregation was ubiquitous in the nation’s capital; protests were rare and usually ineffective.

在这个国家的首都，种族隔离现象无处不在。抗议很少见，而且通常无效。

Besides, as a private organization the Daughters were legally entitled to run Constitution Hall as they saw fit.

此外，作为一个私人组织，女儿们在法律上有权以她们认为合适的方式经营宪法馆。

So even as Walter White was readying an assault on the DAR, Marian Anderson’s concert was no great concern to its new president, Sarah Robert.

因此，即使沃尔特·怀特（Walter White）准备对 DAR 发起进攻，玛丽安·安德森（Marian Anderson）的音乐会并没有引起新任主席莎拉·罗伯特（Sarah Robert）的极大关注。

Denise Vanburen, President General, Daughters of The American Revolution: Sarah Robert was to be our Golden Jubilee President General.

丹尼斯·范布伦（Denise Vanburen），总统，美国革命的女儿们：莎拉·罗伯特（Sarah Robert）将成为我们的五十周年纪念总统。

She was to manage a great celebration for three years marking fifty years of DAR service to America.

她将举办一场盛大的三周年庆祝活动，纪念 DAR 为美国服务五十周年。

I don’t think she could possibly have seen what was about to occur.

我认为她不可能看到即将发生的事情。

Narrator: By the time the DAR board met on February 1st, the situation had escalated.

旁白：到 2 月 1 日 DAR 董事会开会时，情况已经升级。

“I think we will ask to have the doors closed,” Robert told the forty women present.

“我想我们会要求关门，”罗伯特告诉在场的四十名女性。

“The question we are about to take up is a very serious problem.” Robert didn’t voice her opinion on the matter, but the manager of Constitution Hall - Fred Hand - did, and left a written account of his thoughts.

“我们要解决的问题是一个非常严重的问题。”罗伯特没有对此事发表意见，但宪法厅经理弗雷德·汉德发表了意见，并留下了他的想法的书面记录。

“The organization is trying to wreck the way of American life,” he said of the NAACP.

“该组织正试图破坏美国人的生活方式，”他谈到全国有色人种协进会时说。

“The National Society must not be weak enough to submit to intimidation.” The issue was decided by secret ballot: thirty-nine of the forty-one women voted to retain the whites-only policy.

“国家红会决不能软弱到屈服于恐吓的地步。”该问题是通过无记名投票决定的：四十一名女性中的三十九名投票支持保留仅限白人的政策。

Two weeks after the vote, the DAR issued a press release that implied it was simply conforming to municipal law.

投票两周后，DAR 发布了一份新闻稿，暗示这只是符合当地法律。

Denise Vanburen, President General, Daughters of The American Revolution: Even within DAR, there is often a lot of confusion and misinformation.

丹尼斯·范布伦 (Denise Vanburen)，美国革命女儿会主席：即使在 DAR 内部，也经常存在很多混乱和错误信息。

It was not the law of the District of Columbia, nor of the United States.

这不是哥伦比亚特区的法律，也不是美国的法律。

As disappointing as it is to us, this was a policy.

尽管这让我们感到失望，但这是一项政策。

It was a policy choice by the Daughters of the American Revolution.

这是美国革命之女的政策选择。

Allida Black, Historian: If there is a case study on how not to handle controversy, it's the way the DAR handled Marian Anderson in 1939.

历史学家阿莉达·布莱克（Allida Black）：如果有一个关于如何不处理争议的案例研究，那就是 1939 年 DAR 处理玛丽安·安德森的方式。

Narrator: By the end of February the NAACP’s campaign was floundering.

旁白：到二月底，全国有色人种协进会的竞选活动陷入困境。

Not only was the DAR immovable; they’d been vindicated when the Board of Education barred Anderson from performing in the auditorium of a whites-only high school.

DAR 不仅是不可移动的，而且也是不可移动的。当教育委员会禁止安德森在一所白人高中的礼堂表演时，他们的行为得到了证明。

Above all, the NAACP had failed to generate any interest outside of Washington DC.

最重要的是，全国有色人种协进会未能在华盛顿特区以外引起任何兴趣。

But on the 27th of February, almost two months after the controversy began, the situation was completely transformed.

但到了2月27日，也就是争议开始近两个月后，情况彻底转变了。

First Lady Eleanor Roosevelt, an honorary member of the DAR, announced in her nationally syndicated newspaper column that she had resigned from the organization in protest.

第一夫人埃莉诺·罗斯福是 DAR 的荣誉会员，她在全国联合报纸专栏中宣布，她已辞去该组织的职务以示抗议。

Allida Black, Historian: That column then makes the Marian Anderson concert national.

阿莉达·布莱克（Allida Black），历史学家：该专栏使玛丽安·安德森音乐会成为全国性的。

Eleanor Roosevelt turned the discrimination that Marian Anderson encountered from the DAR, into a public conversation on talent and race and justice.

埃莉诺·罗斯福将玛丽安·安德森在 DAR 中遇到的歧视转变为关于人才、种族和正义的公开对话。

Narrator: Marian Anderson first learned of Roosevelt’s move when she noticed a headline while on her way to a rehearsal in San Francisco.

旁白：玛丽安·安德森第一次得知罗斯福的举动是在前往旧金山排练的路上注意到一个标题。

Nobody had bothered to alert her to the two-month-old controversy; “I made no decisions in what they were doing,” she said.

没有人费心提醒她这场持续了两个月的争议； “我没有对他们所做的事情做出任何决定，”她说。

Suddenly a crowd of reporters wanted answers.

突然，一群记者想要得到答案。

“I’m shocked to be barred from the capital of my own country after having appeared in almost every other capital of the world,” Anderson recited from a script Hurok had written.

安德森背诵了胡洛克写的剧本：“在几乎出现在世界上所有其他国家的首都之后，我很震惊地被禁止进入我自己国家的首都。”

“For details of the case, please refer to my manager in New York.” In the wake of Roosevelt’s resignation, the DAR came under withering assault.

“有关案件的详细信息，请咨询我在纽约的经理。”罗斯福辞职后，DAR 遭到猛烈攻击。

Some felt that while the condemnation was well-earned, the rest of white society was getting a pass.

一些人认为，虽然谴责是当之无愧的，但白人社会的其他人却获得了通行证。

“If Mrs. Roosevelt took out after everything like that in Washington D.C., she would be hollering night and day,” writer and activist Zora Neale Hurston wrote.

作家兼活动家佐拉·尼尔·赫斯顿写道：“如果罗斯福夫人在华盛顿特区经历了类似的事情后，她会夜以继日地大喊大叫。”

“Restaurants, theaters - everything in downtown Washington practices Jim Crow.

“餐馆、剧院——华盛顿市中心的一切都实行吉姆·克劳法。

I can’t recall that Mrs. Roosevelt campaigned mightily against those places, as she did against the D.A.R.”

我不记得罗斯福夫人曾大力反对这些地方，就像她反对 D.A.R 那样。”

Adriane Lentz-Smith, Historian: I do think Eleanor Roosevelt did a good thing.

阿德里安·伦茨-史密斯，历史学家：我确实认为埃莉诺·罗斯福做了一件好事。

But when she went after the DAR, Hurston was quick to name the hypocrisy of holding one person up while letting everybody else off.

但当她追查 DAR 时，赫斯顿很快指出了阻碍一个人而放宽其他人的虚伪行为。

Narrator: The story of Marian Anderson and the DAR ran in the papers, week after week.

旁白：玛丽安·安德森和 DAR 的故事一周又一周地出现在报纸上。

It was a huge victory for the NAACP, but still, there was nowhere for Anderson to sing.

这对全国有色人种协进会来说是一次巨大的胜利，但安德森仍然没有地方唱歌。

At the beginning of March, Walter White had an inspiration that transcended the whole debate: a free outdoor concert at the Lincoln Memorial.

三月初，沃尔特·怀特有了一个超越整个辩论的灵感：在林肯纪念堂举办免费的户外音乐会。

It had been seventeen years since the Memorial opened with a segregated ceremony and an homage to white supremacy.

纪念馆以种族隔离仪式和向白人至上致敬的方式开幕已经十七年了。

Now Marian Anderson would rededicate it as a monument to freedom and justice, to the better angels of our natures.

现在，玛丽安·安德森将把它重新奉献为自由和正义的纪念碑，献给我们本性中更好的天使。

On March 13th the board of the NAACP ratified White’s proposal.

3 月 13 日，全国有色人种协进会董事会批准了怀特的提议。

But nobody had any idea how to get permission for such an event from the federal government - nobody had ever tried.

但没有人知道如何获得联邦政府的此类活动许可——没有人尝试过。

Once again, White leaned on his connections: Harold Ickes, a longtime ally and now FDR’s Secretary of the Interior, took the matter straight to the White House.

怀特再次依靠他的关系：哈罗德·伊克斯（Harold Ickes），他的长期盟友，现任罗斯福内政部长，直接向白宫提出了此事。

“She can sing from the top of the Washington Monument if she wants to,” President Roosevelt replied.

“如果她愿意，她可以在华盛顿纪念碑的顶部唱歌，”罗斯福总统回答道。

Hurok made the announcement to the New York Times on the 21st of March.

Hurok 于 3 月 21 日向《纽约时报》宣布了这一消息。

It was three days later that Walter White finally told Marian Anderson about it.

三天后，沃尔特·怀特终于把这件事告诉了玛丽安·安德森。

She was given the choice of backing out, but that train had all but left the station.

她可以选择退出，但那趟火车几乎已经离开车站了。

“Regardless of my feelings in the matter,” she later recalled, “it would not have been right to run away from it.”

“不管我对这件事的感受如何，”她后来回忆道，“逃避它是不对的。”

Adriane Lentz-Smith, Historian: She's no dummy, right?

阿德里安·伦茨·史密斯，历史学家：她不是傻瓜，对吧？

Because she understands the utility of it to the NAACP and perhaps to African-Americans more broadly.

因为她了解它对全国有色人种协进会乃至更广泛的非裔美国人的效用。

But that doesn't necessarily mean that it's doing much for her, right?

但这并不一定意味着这对她有多大作用，对吧？

On some level, it's not her story.

在某种程度上，这不是她的故事。

Anyone is bound to feel ambivalent about not being the protagonist in their own life.

任何人都会因为自己不是自己生活的主角而感到矛盾。

Narrator: Nobody knew what to expect; there had never been an occasion like this before.

旁白：没有人知道会发生什么；以前从未有过这样的场合。

But now it was thrilling just to be there, to catch the first sight of the Lincoln Memorial, to become one with the crowd and to watch it grow, to feel the strength in its numbers.

但现在，光是来到那里，第一眼看到林肯纪念堂，成为人群中的一员，看着它成长，感受到它的数量的力量，就令人兴奋不已。

At some point on that Easter Sunday, it became one of the largest gatherings ever in the nation’s capital, eclipsing the mark set fifteen years earlier by a rally of the Ku Klux Klan.

在复活节周日的某个时候，它成为该国首都有史以来最大的集会之一，超越了十五年前三K党集会所创下的纪录。

Alisha Jones, Ethnomusicologist: Howard University did a great job in terms of getting the word out.

艾丽莎·琼斯，民族音乐学家：霍华德大学在宣传方面做得很好。

The NAACP, the mine workers, the Pullman Porters, all of these organizations spread the word in very traditional ways.

全国有色人种协进会、矿工、普尔曼搬运工，所有这些组织都以非常传统的方式传播信息。

Sharon Vriend Robinette, Historian: There was great outcry in the press, in part framed to say, “Come and protest this discrimination because the United States should not be associated with Nazism.”

历史学家莎朗·弗里恩德·罗比内特（Sharon Vriend Robinette）：媒体对此提出了强烈抗议，部分原因是“来抗议这种歧视，因为美国不应该与纳粹主义联系在一起。”

Allida Black, Historian: The concert stays on the front pages of newspapers in the country, for six weeks.

阿莉达·布莱克（Allida Black），历史学家：这场音乐会在该国报纸的头版上停留了六个星期。

And it's positive press coverage Most southern newspapers editorialized in support of it.

这是积极的新闻报道，大多数南方报纸都发表社论支持它。

I mean, just that's stunning.

我的意思是，这真是令人惊叹。

Narrator: Anderson had come here for the soundcheck earlier in the day; had tried out the microphones, looked out over the empty Mall.

旁白：安德森今天早些时候来这里进行试音；试了一下麦克风，眺望着空荡荡的购物中心。

But when she was driven back for the concert, the sight of the crowd took her breath away.

但当她被开车回去参加音乐会时，人群的景象让她屏住了呼吸。

Allida Black, Historian: You know, she'd sung to three, four thousand, you know, maybe five thousand.

阿莉达·布莱克（Allida Black），历史学家：你知道，她曾为三、四千人唱歌，你知道，也许有五千人。

But this is seventy-five thousand people.

但这是七万五千人。

And they'd been standing outside for hours.

他们已经在外面站了好几个小时了。

Narrator: Anderson would be surrounded onstage by two hundred public figures who had signed up as co-sponsors of the event, ranging from Supreme Court Justice Hugo Black to movie star Tallulah Bankhead.

旁白：安德森在台上将被 200 名报名成为该活动共同赞助商的公众人物包围，其中包括最高法院法官雨果·布莱克 (Hugo Black) 和电影明星塔卢拉·班克黑德 (Tallulah Bankhead)。

Angela Brown, Opera Singer: She steps down those stairs, and she lifts her head up, and she begins to look out on the sea of people.

安吉拉·布朗，歌剧歌手：她走下楼梯，抬起头，开始看着外面的人海。

The diversity in that crowd was astonishing.

这群人的多样性令人惊讶。

Lucy Caplan, Cultural Historian: She looks very majestic, but she seems very small against this vast, vast white background of this hyper-symbolic space.

文化历史学家露西·卡普兰：她看起来非常雄伟，但在这个超象征性空间的巨大白色背景下，她显得非常渺小。

The anticipation must have been beyond anything we could imagine.

这种期待一定超出了我们的想象。

Radio Announcer: Good afternoon, ladies and gentlemen.

电台播音员：女士们、先生们，下午好。

We’re speaking to you from the steps of the Lincoln Memorial in the nation’s capital from which point the National Broadcasting Company...

我们在国家首都林肯纪念堂的台阶上向您讲话，从这里国家广播公司......

Allida Black, Historian: You had this fear of, "Oh, my God look at the people," and this irrational hope that's placed on her, you know.

阿莉达·布莱克（Allida Black），历史学家：你有这种恐惧，“哦，天哪，看看这些人”，以及对她寄予的这种非理性的希望，你知道。

And you could see from the films that when she closes her eyes, you know, and takes that first deep breath...

你可以从电影中看到，当她闭上眼睛，第一次深呼吸时……

Marian Anderson: My country ‘tis of thee, Sweet land of liberty, To thee we sing.

玛丽安·安德森：我的国家是你的，甜蜜的自由之地，我们为你歌唱。

Narrator: “The moment Miss Anderson started to sing,” one newsman recounted, “there descended upon the multitude a reverent silence.”

旁白：“安德森小姐开始唱歌的那一刻，”一位新闻记者回忆道，“人群中一片肃静。”

Adriane Lentz-Smith, Historian: Can you just imagine standing amongst 75,000 people at the Lincoln Memorial in 1939 looking at a Black woman singing?

Adriane Lentz-Smith，历史学家：您能想象 1939 年站在林肯纪念堂的 75,000 人中间看着一位黑人妇女唱歌吗？

It's stunning, right?

太棒了，对吧？

No matter who you were, that moment must have felt...amazing.

无论你是谁，那一刻一定感觉……太棒了。

Music: Marian Anderson sings Trampin’.

音乐：玛丽安·安德森演唱《Trampin’》。

Marian Anderson: I’m Trampin’ Trying to make Heaven my home.

玛丽安·安德森：我正在流浪，试图让天堂成为我的家。

Alisha Jones, Ethnomusicologist: She sang of her citizenship as a person in the United States.

艾丽莎·琼斯，民族音乐学家：她歌颂了她作为美国公民的公民身份。

And she sang of her citizenship as a Black woman,

她歌颂了自己作为黑人女性的公民身份，

Alisha Jones, Ethnomusicologist: Singing the songs of the Negro spiritual.

Alisha Jones，民族音乐学家：唱黑人灵歌。

If that ain't Easter Sunday message, then what is?

如果这不是复活节主日信息，那么什么才是呢？

She arose y'all!

你们大家她都起来了！

Narrator: When she was done, and on the verge of tears, Anderson spoke to the crowd for the first and only time.

旁白：当她讲完后，安德森几乎要哭了，这是第一次也是唯一一次向人群讲话。

“My dear friends,” she said, “I am so overwhelmed that I cannot express myself.

“我亲爱的朋友们，”她说，“我不知所措，无法表达自己。

I hope you will ever find me grateful for the wonderful things you have done for me.

我希望你会发现我对你为我所做的一切心存感激。

Please try to imagine all the things I cannot say.”

请尝试想象所有我无法说出的事情。”

Adriane Lentz-Smith, Historian: Within a few days there'll be another lynching, // or there'll be the next thing.

阿德里安·伦茨-史密斯，历史学家：几天之内就会有另一场私刑，//或者会有下一件事。

But I think it's also true that Marian Anderson's concert makes clear the potential for using publicity to point out America's hypocrisy, to shame white Americans into living up to their stated ideals.

但我认为玛丽安·安德森的音乐会也确实表明了利用宣传来指出美国的虚伪、羞辱美国白人以实现其既定理想的可能性。

Like it’s not the only strategy, but coupled with other things, it is an effective one.

就像这不是唯一的策略一样，但与其他因素相结合，它是一种有效的策略。

It is inspiration for other generations of African American civil rights activists; imagining how they might use these strategies again in the future.

它为其他几代非裔美国民权活动家提供了灵感；想象他们将来如何再次使用这些策略。

Allida Black, Historian: What this said to the NAACP is that you can have power outside the courts.

阿莉达·布莱克（Allida Black），历史学家：这对全国有色人种协进会来说意味着你可以在法庭之外拥有权力。

You can have power outside a lobbying effort in the halls of Congress.

你可以在国会大厅的游说活动之外拥有权力。

That if you build the right alliances, and you use media in new way, you will begin to have a new audience, a wider audience.

如果你建立正确的联盟，并以新的方式使用媒体，你将开始拥有新的受众，更广泛的受众。

Marian Anderson helps set the stage for a new conversation about freedom.

玛丽安·安德森帮助为关于自由的新对话奠定了基础。

Narrator: By the early 1950s the privations of Anderson’s youth were a distant memory.

旁白：到了 20 世纪 50 年代初，安德森年轻时的贫困已经成为遥远的记忆。

She was happily married to her longtime suitor Orpheus Fisher; days were spent around the pool at their Connecticut estate, or hosting friends and family.

她与长期追求者奥菲斯·费舍尔幸福地结婚了。他们在康涅狄格州的庄园的泳池边度过了很多天，或者招待朋友和家人。

Anderson was an avid fan of Jackie Robinson’s Dodgers; when they were playing she could be found, by her own account, “yelling at the television set like mad.”

安德森是杰基·罗宾逊 (Jackie Robinson) 的道奇队 (Dodgers) 的狂热粉丝。据她自己的说法，当他们演奏时，她“疯狂地对着电视机大喊大叫”。

Life was easier, but not always simple.

生活变得更容易，但并不总是那么简单。

In all the years since the Lincoln Memorial concert, she had never discussed it with anyone outside her inner circle.

自从林肯纪念堂音乐会之后的这些年里，她从未与她的核心圈子之外的任何人讨论过这件事。

Leslie Ureña, Associate Curator, National Portrait Gallery: She skirts the issue or she finds other ways of really not commenting on the controversy itself.

莱斯利·乌雷纳（Leslie Ureña），国家肖像画廊副馆长：她回避了这个问题，或者她找到了其他方式来真正不对争议本身发表评论。

It's fascinating that she could find ways of avoiding it.

令人着迷的是她能找到避免这种情况的方法。

Allida Black, Historian: The added responsibilities that this placed on her must have had both a joyful component and a huge toll at the same time.

阿莉达·布莱克（Allida Black），历史学家：这给她带来的额外责任肯定既带来了快乐，同时也带来了巨大的损失。

This is not a concert that you can ever escape.

这不是一场你可以逃避的音乐会。

Lucy Caplan, Cultural Historian: It makes her a celebrity in the United States in the way that even a lot of successful tours and concerts never could have done.

露西·卡普兰，文化历史学家：这使她在美国成为名人，即使是许多成功的巡演和音乐会也无法做到这一点。

But it also puts this layer of political meaning onto everything that she does.

但这也将这一层政治意义赋予了她所做的一切。

Narrator: Although Anderson was still lionized, especially by older Americans, a new generation was energizing the civil rights movement, young people who hadn’t been scarred by Red Summer, who were frustrated by the pace of change, and skeptical of their elders.

旁白：虽然安德森仍然受到人们的推崇，尤其是美国老年人的推崇，但新一代正在为民权运动注入活力，这些年轻人没有受到红色夏天的伤害，他们对变革的步伐感到沮丧，并对长辈持怀疑态度。

Some found that her reticence was no longer acceptable; her wealth and comfort bred resentment rather than admiration.

一些人发现她的沉默寡言不再被接受；她的财富和舒适引起了怨恨而不是钦佩。

In 1951, as part of an NAACP campaign to end segregation in performance spaces, Anderson and other Black artists were asked to stop playing in segregated venues.

1951 年，作为全国有色人种协进会结束表演场所种族隔离运动的一部分，安德森和其他黑人艺术家被要求停止在种族隔离的场所演出。

Anderson refused.

安德森拒绝了。

“Miss Anderson’s policy in past years has resulted in a vast improvement in the relations between Negro and white in the Southern states,” Hurok and Anderson explained, “and has brought the problem of segregation closer to a real solution than would have been the case if she had followed more militant tactics.”

胡罗克和安德森解释说：“安德森小姐过去几年的政策极大地改善了南方各州黑人和白人之间的关系，并且使种族隔离问题比她采取更激进的策略更接近真正的解决方案。”

Sharon Vriend, Historian: She was born in 1897, and grew up at a time when it was expected that an African-American woman, particularly middle class would hold herself with dignity, with composure, a very even-keeled personality.

历史学家莎朗·弗里恩德 (Sharon Vriend)：她出生于 1897 年，在她成长的那个时代，人们期望非裔美国女性，尤其是中产阶级女性能够保持尊严、镇静、性格非常平静。

And if one was outspoken, one ran certain risks of violence and limited opportunity.

如果一个人直言不讳，就会面临一定的暴力风险和有限的机会。

Narrator: For Anderson, the threat had been driven home when Roland Hayes - her lifelong mentor, and one of the most famous Black people in America was beaten by police after his wife and daughter accidentally sat in the white section of a shoe store in Georgia.

旁白：对安德森来说，当她一生的导师、美国最著名的黑人之一罗兰·海耶斯（Roland Hayes）的妻子和女儿不小心坐在乔治亚州一家鞋店的白色区域后，遭到警察殴打时，这种威胁就已经深入人心。

But for the NAACP the battle against segregated entertainment was crucial; despite the dangers, celebrities were expected to play their part.

但对于全国有色人种协进会来说，反对隔离娱乐的斗争至关重要。尽管存在危险，但名人仍有望发挥自己的作用。

“The people of the South are proud of Marian Anderson,” a field secretary wrote Walter White, “but she should not surrender to segregation, lest she destroy some of the love these young people have for her.” In January 1951 the NAACP boycotted Anderson’s concert in Richmond Virginia; only then did she agree to join the campaign.

“南方人民为玛丽安·安德森感到自豪，”一位外勤秘书写信给沃尔特·怀特，“但她不应该屈服于种族隔离，以免她破坏了这些年轻人对她的一些爱。” 1951 年 1 月，全国有色人种协进会抵制安德森在弗吉尼亚州里士满举行的音乐会；直到那时她才同意参加竞选。

Carol Oja, Musicologist: It's a painful experience.

音乐学家卡罗尔·奥贾（Carol Oja）：这是一次痛苦的经历。

The scene is shifting really fast and kind of staying ahead of it must have been tricky, just finding ways to keep performing, and to stick to your principles.

场景变化得非常快，保持领先一定很棘手，只是想办法继续表现，并坚持你的原则。

Adriane Lentz-Smith, Historian: There's always this question with these people who are extraordinary and who are conscripted on some level into these broader freedom struggles, whether it's enough to let their talent do their work.

阿德里安·伦茨-史密斯，历史学家：对于这些非凡的人以及在某种程度上被征召入伍参加更广泛的自由斗争的人来说，总是存在这样的问题：是否足以让他们的才能发挥作用。

Narrator: Some found Anderson’s reticence disappointing, but to others it made her the ideal agent of change.

旁白：有些人认为安德森的沉默令人失望，但对其他人来说，这使她成为理想的变革推动者。

In 1955 Anderson was fifty-eight years old, no longer in her prime vocally, and she had never performed in an opera.

1955年，安德森已经五十八岁了，她的歌唱生涯已不再处于巅峰期，而且她也从未在歌剧中演出过。

But sixteen years after the DAR controversy, the management of New York City’s Metropolitan Opera had decided that it was time to break the color bar, and they were looking for the most respected, least controversial candidate.

但在 DAR 争议十六年后，纽约大都会歌剧院的管理层决定是时候打破肤色界限了，他们正在寻找最受尊敬、争议最小的候选人。

Carol Oja, Musicologist: Marian Anderson's debut at the Metropolitan Opera in January of 1955 was a very big deal.

卡罗尔·奥哈 (Carol Oja)，音乐学家：1955 年 1 月，玛丽安·安德森 (Marian Anderson) 在大都会歌剧院的首次亮相是一件非常重要的事情。

The Metropolitan Opera was then 75 years old.

当时大都会歌剧院已经有 75 岁了。

No singer of color had ever been featured on its stage previously, despite lots of lobbying, lots of attempts to get them to change their whites-only policy.

尽管进行了大量游说，并多次尝试让他们改变仅限白人的政策，但此前从未有过有色人种歌手出现在其舞台上。

A lot started to change after that moment.

A lot started to change after that moment.

Narrator: Although Anderson would continue to perform for another decade, the Met debut was the capstone of her career.

旁白：虽然安德森将继续表演十年，但大都会歌剧院的首演是她职业生涯的顶峰。

Younger stars were taking center stage.

年轻的明星占据了舞台的中心。

In the civil rights movement, too, the torch was passing to a new generation.

在民权运动中，火炬也正在传递给新一代。

The year that began with Anderson’s Met debut ended with the emergence of twenty-six-year-old Reverend Martin Luther King Jr. onto the national scene.

以安德森在大都会艺术博物馆的首次亮相开始的这一年，随着二十六岁的马丁·路德·金牧师登上全国舞台而结束。

King had listened to Anderson’s Easter Sunday concert on the radio when he was ten years old; he had commemorated it in a high school essay.

金十岁时曾在广播中听过安德森的复活节音乐会。 he had commemorated it in a high school essay.

Now, though King embraced tactics that Anderson had described as “militant”, he revered her still.

现在，尽管金接受了安德森所说的“激进”策略，但他仍然尊敬她。

So in August 1963, when King’s allies were involved in planning a March on Washington, they reached out to Anderson.

因此，1963 年 8 月，当金的盟友参与计划向华盛顿进军时，他们联系了安德森。

“The entire committee,” the NAACP’s Roy Wilkins wrote, “unanimously decided that invitation to sing be extended to you for this historic occasion.”

“整个委员会，”全国有色人种协进会的罗伊·威尔金斯写道，“一致决定邀请您在这一历史性时刻唱歌。”

Allida Black, Historian: It's no accident that Martin Luther King picks the exact spot that Marian Anderson used to deliver the I Have a Dream speech.

历史学家阿莉达·布莱克：马丁·路德·金选择玛丽安·安德森发表“我有一个梦想”演讲的确切地点并非偶然。

Those two people, planting their separate two feet in the exact same square on the steps of the Lincoln Memorial, make it forever the shrine of racial justice.

这两个人将各自的两只脚踩在林肯纪念堂台阶上的同一个广场上，使之永远成为种族正义的圣地。

Jillian Patricia Pirtle, CEO, Marian Anderson Museum: Marian Anderson was that iconic figure that you could look to and you could say that because of what she was able to achieve people could hope that they could achieve their own greatness.

Jillian Patricia Pirtle，玛丽安·安德森博物馆首席执行官：玛丽安·安德森是你可以仰望的标志性人物，你可以说，由于她所取得的成就，人们可以希望他们能够实现自己的伟大。

Kira Thurman, Historian: How can we make space for different modes of activism, different modes of advocacy and agency, especially for Black women?

历史学家基拉·瑟曼：我们如何为不同的行动主义模式、不同的倡导和代理模式创造空间，特别是对于黑人女性？

These kinds of moments, these kinds of demonstrations, provide us today with a rich history that we can claim, we can sort of follow in their footsteps and in their path to sort of break new ground.

这些时刻，这些示威活动，为我们今天提供了丰富的历史，我们可以宣称，我们可以追随他们的脚步和道路，开辟新天地。

The work was unfinished in 1939.

这项工作于 1939 年尚未完成。

It is unfinished today.

今天还没有完成。

But you keep going.

但你继续前进。

Allida Black, Historian: Marian Anderson understood the power of her presence.

阿莉达·布莱克（Allida Black），历史学家：玛丽安·安德森（Marian Anderson）了解她存在的力量。

She understood in a very personal way the history and symbolism that she carried.

她以非常个人的方式理解她所承载的历史和象征意义。

What Marian Anderson is going to say is my voice is as worthy and if not better than any other voice in my field.

玛丽安·安德森要说的是，我的声音与我所在领域的任何其他声音一样有价值，甚至更好。

And I must be heard.

我必须被听到。