Libby Holman

b. Elsbeth Holzman, 23 May 1904, Cincinnati, Ohio, USA, d. 18 June 1971, Stamford, Connecticut, USA. Holman was regarded by some as the first great white torch singer, and by others as 'a dark purple menace', because of her tempestuous private life. She played minor roles in Broadway musicals such as Richard Rodgers and Lorenz Hart's Garrick Gaieties (1925), but became a featured star in MERRY-GO-ROUND (1927), and RAINBOW (1928), in which she gave a languorous performance of I Want A Man. After making the US Top 10 in 1929 with Am I Blue?, she was acclaimed a major star following her performance in The Little Show, in which she sang Can't We Be Friends and Moanin Low'. Holman received rave reviews for her sultry renditions of Body And Soul and Something To Remember Me By in Three's A Crowd (1930). Her career declined following the shooting of her husband Zachary Smith Reynolds. She was accused of his murder but the case was declared nolle prosequi, and never came to court. Holman returned to Broadway in Revenge With Music (1934), in which she introduced Arthur Schwartz and Howard Dietz's insinuating You And The Night And The Music, and subsequently appeared in Cole Porter's YOU NEVER KNOW (1938). Sadly, she never achieved her former heights. During the early '40s she caused a furore by appearing as a double-act with black folk singer Josh White, playing clubs and concerts in an era when a black male and white female stage relationship was frowned upon by many bookers and critics. Holman continued touring during the '50s presenting a programme called BLUES, BALLADS AND SIN SONGS, but still controversy followed her when she befriended ill-fated screen idol, Montgomery Clift. Mainly inactive in her later years, Holman is said to have died of carbon monoxide poisoning in June 1971

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Marian Anderson (1897-1993)
by Randye L. Jones

Contralto Marian Anderson was born in Philadelphia, Pennsylvania. A variety of sources suggested February 17, 1902, as her birthdate; however, Anderson's birth certificate, released after her death, listed the date as February 27, 1897. Her father was an ice and coal salesman, and her mother was a former teacher.

Although Anderson had early showed an interest in the violin, she eventually focused on singing. The Black community, recognizing her talent, gave her financial and moral support. She also gained the notice of tenor Roland Hayes, who provided guidance in her developing career.

Many African American operatic and concert singers, including Leontyne Price, Jessye Norman, Shirley Verrett, and Kathleen Battle, have credited Marian Anderson as their inspiration to seek professional vocal careers. Norman recalled the first recording she heard of the contralto: "I listened, thinking, 'This can't be just a voice, so rich and beautiful.' It was a revelation. And I wept."1

Other "Black Divas" have come before Anderson: Elizabeth Taylor-Greenfield, Marie Selika, and Sissieretta Jones; none, however, was able to break through the glass ceiling of race and obtain more than modest notoriety. What was it about Marian Anderson that allowed her to go beyond the level of professional success obtained by her antecedents and even her contemporaries?