ger, publisher of the Kiplinger Newsletter, a native Washingtonian, has declared that Washington, D.C., has no homegrown culture, such as London, Vienna, and other European capital cities have, and that such culture as it does have is brought in and pasted on.

The Congress controls the purse strings of the Nation's Capital, and allocates local taxes raised locally-a function of city governments alone elsewhere in the United States.

So, a word from the President to the Democratically controlled Congress could quickly raise the $16,000 to a respectable sum.

Let us hope that he will soon move on this matter.

In 1942 the Congress established the District of Columbia Recreation Department and gave it extensive authority in the fine arts. President Franklin Delano Roosevelt signed this act into law.

Some discerning students of government have compared this law, in its possible significance, to the British Arts Council.

The Congress allocates the $16,000 for local art programs to the District of Columbia Recreation Department. Now, I admit that $16,000 is better than nothing, but when we have spent more than $85 billion abroad in recent years— and this has helped other nations restore opera houses, and carry on cultural programs of important and significant extent-then it does seem to many cultural leaders that Congress ought to do something which would permit the residents of our Nation's Capital to spend 1 mill out of each tax dollar of their own local revenue for cultural activities. This would provide a tidy sum of $180,000 a year for art and make it possible for the Nation's Capital to shed the "hick town" status immediately.

Bills have been introduced by a number of Democrats, including Senators Humphrey, and Morse, and the gentleman from Delaware (Mr. McDowell) which would allocate to art 1 mill out of each tax dollar raised locally. So far they have failed to get the nod of the President.

I forgot to mention that in his bill, H.R. 4348, the gentleman from New York (Mr. Powell) called for the effective development of the human and other cultural resources in the District of Columbia without regard to race or color, a necessary step in view of the undemocratic hiring and employment policies persisted in by such cultural organizations as the National Symphony Orchestra despite the contribution of the American Negro to our Nation's culture.

The gentleman from New York (Mr. Powell) declared on March 20, 1961: A thorough search would surely find Negro musicians capable of playing in the National Symphony Orchestra."

He went on to say, in a statement which appears in the Congressional Record of that date that:

"If it is simply a matter of not being able to find a competent Negro musician, and not a matter of bias reinforced by hiring only through a Jim Crow local of the American Federation of Musicians, then there is a simple solution. That solution is to make a more thorough search.

"Because I am confident that competent Negro musicians can be found who will add luster to the National Symphony Orchestra I hereby offer my own services in an effort to find a Negro instrumentalist for the orchestra.

"The National Symphony Orchestra should represent to all the world our high standards and aspirations as a Nation and as a people, and our part in and contribution to Western civilization.

"The National Symphony Orchestra has represented this Nation on its tours abroad under the sponsorship of the Department of State and as part of the President's program for cultural exchange which is financed by taxes which are paid on a nonsegregated basis.

"That the National Symphony Orchestra does not have a single Negro instrumentalist in its ranks despite the vast contribution of the American Negro to our Nation's musical culture, a contribution which is universally acknowledged by people of all nations, is matter to be deplored.

"Top Government officials have shown deep concern in the case of the nonreferral of Negroes to employers and contractors working on Federal buildings or holding Federal contracts.

"Surely, the fact that there has never, in the entire time that the National Symphony Orchestra has been in existence, been even one Negro employed by this musical organization should also be a matter of public concern.

"The National Symphony Orchestra has been included in the budget for the first time, and Members of Congress will soon be asked to appropriate funds to

it. These funds are small in amount, and far from what a city the size of Washington should be contributing to its orchestra if we are to judge by what other American cities contribute.

"But, in any event, the National Symphony Orchestra and the Board of Commissioners of the District of Columbia should come to the Congress with clean hands and, especially, in view of the worldwide interest in what we as a people do about solving our own problems of bias and prejudice, they should make an honest attempt to end the longstanding bias of the National Symphony Orchestra against Negro musicians."

Now I read in the New York Times:

"RACIAL CURBS BANNED-KENNEDY CAUTIONS AGENCIES ON RECREATIONAL GROUPS

"WASHINGTON, April 20.-President Kennedy ordered Federal agencies Thursday to take immediate and specific action to bar the use of their names or facilities to any employee recreational groups that practice racial discrimination.

"Current practices in each department are to be brought into immediate compliance with this policy, and a report by the head of each executive agency filed to that effect before May 1, 1961,' the President said in a memorandum to the heads of all departments and agencies.

"Pierre Salinger, White House press secretary, said he did not consider the memorandum to be based on anything specific when asked if the President was hitting at any particular group or agency.

"Mr. Kennedy said his order was in line with his March 6 Executive order affirming that 'discrimination because of race, creed, color, or national origin is contrary to the constitutional principles and policies of the United States.'"

The newspapers report that the National Symphony Orchestra, about which the Democrats are hurling these segregation charges, is using the new State Department auditorium for its concerts.

Will the Secretary of State, Dean Rusk, actually bar the National Symphony Orchestra from use of the fine new auditorium in the State Department, which the President uses for press conferences?

Or does the President's order with regard to segregation apply only to Federal employee organizations?

Of course, it may be argued that the Democratic charges that the National Symphony Orchestra is biased in its hiring practices have nothing to do with art.

This is true, for the charges are only more politics.

One is inclined to suspect that politics are involved because, or so it is said, all other major American symphony orchestras have exactly the same hiring policies that the National Symphony Orchestra does.

In any event, to sum up, it is clear that the Democrats have done little for the arts during the first 100 days of the new administration to carry out their campaign promises of last fall.

The destruction of the Lafayette Square buildings will give our country a definite and major setback in world opinion.

The lack of response to the people by the Democrats in this regard is monumental, and is more typical of a monarchial form of government than of a democracy or a republican form of government such as ours is.

The Democrats are going to have to do much better than they have done so far to match the splendid record of President Dwight Eisenhower in the arts.

Among the cultural steps taken during the Eisenhower administration was enactment of the Humphrey-Thompson Act-Public Law 860, 84th Congressunder which our great orchestras, artists, and talented groups from our colleges and universities are sent overseas to demonstrate the cultural accomplishments of the people of our country and to counteract Russian propaganda that we are a nation of materialists.

Other steps taken under President Eisenhower included the adoption of the Thompson-Fulbright National Cultural Center Act; and the Thompson-Humphrey-Anderson Act transferring the historic Patent Office Building to the Smithsonian Institution as a permanent home for the National Collection of Fine Arts which the Congress established in 1840.

The Patent Office Building, designed by the great architect, Robert Mills, who designed the Washington Monument and the Treasury Department Building, will also house a National Portrait Gallery.

These are far-reaching and important steps of which the Republican Members of the Congress and President Eisenhower can be proud.

[From the Congressional Record, Mar. 20, 1961]

A THOROUGH SEARCH WOULD SURELY FIND NEGRO MUSICIANS CAPABLE OF PLAYING IN THE NATIONAL SYMPHONY ORCHESTRA

(Extension of remarks of Hon. Adam C. Powell of New York in the House of Representatives Monday, Mar. 20, 1961.)

Mr. POWELL. Mr. Speaker, the manager of the National Symphony Orchestra, Mr. Raymond F. Kohn, was quoted in the Washington, D.C., Afro-American on March 4, 1961 as follows:

"There cannot conceivably be a color line in the National Symphony."

Mr. Kohn then outlined to the reporter of the newspaper, Don Harewood, the procedure used for auditioning new talent. He said:

"We hold two types of auditions annually. First we notify the union (Local No. 161 of the American Federation of Musicians) that a vacancy or vacancies exist.

"If we are unable to find talent locally then our personnel director sends out a call to music schools, colleges. They are requested to recommend persons who it is felt can meet our qualifications.

"Sometimes even the orchestra members recommend people whom they know. "There is one primary requisite for an applicant who desires an audition. He must have a repertoire.

"This means that the applicant must have some knowledge of the symphonic standards, i.e., Bach; Beethoven; Tschaikovsky, etc."

He added:

"Why, we even have a contest every year, the Merriweather-Post Contest, which is open to all."

If it is simply a matter of not being able to find a competent Negro musician, and not a matter of bias reinforced by hiring only through a Jim Crow local of the American Federation of Musicians, then there is a simple solution. That solution is to make a more thorough search.

Because I am confident that competent Negro musicians can be found who will add luster to the National Symphony Orchestra I hereby offer my own services in an effort to find a Negro instrumentalist for the orchestra.

The National Symphony Orchestra should represent to all the world our high standards and aspirations as a Nation and as a people, and our part in and contribution to Western civilization.

The National Symphony Orchestra has represented this Nation on its tours abroad under the sponsorship of the Department of State and as part of the President's program for cultural exchange which is financed by taxes which are paid on a nonsegregated basis.

That the National Symphony Orchestra does not have a single Negro instrumentalist in its ranks despite the vast contribution of the American Negro to our Nation's musical culture, a contribution which is universally acknowledged by people of all nations, is a matter to be deplored.

Top Government officials have shown deep concern in the case of the nonreferral of Negroes to employers and contractors working on Federal buildings or holding Federal contracts.

Surely, the fact that there has never, in the entire time that the National Symphony Orchestra has been in existence, been even one Negro employed by this musical organization should also be a matter of public concern.

The National Symphony Orchestra has been included in the budget for the first time, and Members of Congress will soon be asked to appropriate funds to it. These funds are small in amount, and far from what a city the size of Washington should be contributing to its orchestra if we are to judge by what other American cities contribute.

But, in any event, the National Symphony Orchestra and the Board of Commissioners of the District of Columbia should come to the Congress with clean hands and, especially, in view of the worldwide interest in what we as a people do about solving our own problems of bias and prejudice, they should make an honest attempt to end the longstanding bias of the National Symphony Orchestra against Negro musicians.

I include, as part of my remarks, the article from the Washington AfroAmerican to which I have referred:

"NATIONAL SYMPHONY PLAYS WAY OUT OF TUNE ON HIRING POLICIES SAYS REPRESENTATIVE POWELL

(By Don Harewood)

"The National Symphony Orchestra of Washington, D.C., has been accused of racial discrimination in its hiring policies by Representative Adam Clayton Powell.

"Calling attention to the 'undemocratic hiring and employment policies persisted in by the orchestra,' Representative Powell introduced a bill, H.R. 4348, to establish a Commission on the Cultural Resources in the Nation's Capital, and to provide a comprehensive plan for the effective utilization of such resources without regard to race or color.

"Exactly 8 days later, the Young Democratic Club of the District of Columbia likewise called for an end to the 'whites only' hiring policy of the National Symphony Orchestra.

"The National Symphony, however, has strongly denied any discrimination in its hiring policy.

"In an interview with an Afro reporter Mr. Raymond F. Kohn, manager of the National Symphony, was asked, 'Is there any discrimination in your hiring or employment policies?'

"Mr. Kohn declared, "There cannot conceivably be a color line in the National Symphony.'

"Mr. Kohn was also asked, 'Have you ever hired personnel through Local No. 710 of the American Federation of Musicians?' (This is the segregated musicians' union for colored musicians in the District.)

"Mr. Kohn exclaimed, 'Do you know that I have never heard of local 710 until recently.'

"Mr. Kohn then outlined the procedure used for auditioning new talent. He said, 'we hold two types of auditions annually. First, we notify the union (Local No. 161 of the American Federation of Musicians) that a vacancy or vacancies exist.

66

'If we are unable to find talent locally then our personnel director sends out a call to music schools, colleges. They are requested to recommend persons who it is felt can meet our qualifications.

66

'Sometimes even the orchestra members recommend people whom they know. ""There is one primary requisite for an applicant who desires an audition,' he continued. 'He must have a repertoire.

""This means that the applicant must have some knowledge of the symphonic standards, i.e., Bach; Beethoven; Tschaikovsky, etc.'

"He stated, 'Why, we even have a contest every year, the Merriweather-Post contest, which is open to all.'

"Then, with a puzzled expression he asked, 'Why hasn't local No. 710 made an inquiry of the National Symphony? Why have they not come forth?'

"The Afro also contacted the president of Local No. 161 of the American Federation of Musicians, a Mr. Kaufman.

"This local, along with local No. 710, was mentioned in the resolution passed by the Young Democratic Club of the District of Columbia.

"Mr. Kaufman said flatly that certain sections of the resolution had no basis in fact. 'If a qualified colored musician came up he would be accepted,' he told the Afro.

"We do have a contract with the National Symphony Orchestra which is not exclusive, and it is not restrictive since all hiring is done on the basis of qualification of the applicant,' he said.

"When asked whether or not a nonunion musician who applied for an audition would be allowed to join the union, Mr. Kaufman said 'No.'

"Later, the question was put to him in this manner: 'If a man who through his own initiative and aggressiveness, though not a union member, managed to secure employment with the National Symphony, would he then be permitted to join the union?'

"Mr. Kaufman said, 'under those conditions we would accept him. But in the last 6 years not one colored person has made application for an audition.'

"This last statement, however, would appear to contradict information supplied by Howard Mitchell, music director and conductor of the National Symphony Orchestra.

"Mr. Mitchell informed Mr. Kohn that he had auditioned a colored cellist in New York last year, but that he did not have a repertoire at that time and failed to qualify.

"District residents remember Mr. Mitchell as the man who led the fight against the DAR which opened the way for colored performers to appear on the stage of Constitution Hall.

"Mr. Mitchell also invited Dr. Warner Lawson to direct the National Symphony Orchestra in January 1955 and several times since.

"In addition, he has appeared with the National Symphony Orchestra and the Howard University Choir on numerous occasions."

[H.R. 4348, 87th Cong., 1st sess.]

A BILL To establish a Commission on the Cultural Resources in the Nation's Capital, and to provide a comprehensive plan for the effective utilization of such resources without regard to race or color, a necessary step in view of the undemocratic hiring and employment policies persisted in by such cultural organizations as the National Symphony Orchestra despite the contribution of the American Negro to our Nation's culture

Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That it is the policy of the Congress that a study shall be carried out to develop a comprehensive plan (1) for the effective development of the human and other cultural resources in the District of Columbia, without regard to race or color, a necessary step in view of the undemocratic hiring and employment policies persisted in by such cultural organizations as the National Symphony Orchestra despite the contribution of the American Negro to our Nation's culture, (2) the maximum cooperation of governmental authorities and private business in advancing the fine arts, and (3) the utilization for cultural purposes of suitable buildings (whether public or private) in the District of Columbia. Such plan shall be developed, after taking into consideration the role in the encouragement and development of the fine arts of the capital cities of other nations, in order that the Nation's Capital may take its rightful place now in the promotion and encouragement of those artistic and cultural endeavors which make civilization endure and flourish. The plan shall be designed to promote better international understanding and appreciation of the people of the United States and to advance international peace and good will and shall include, for such purposes, provisions for international competitions and festivals in the fine arts utilizing both professional and educational talent. The plan shall not conflict with other governmental or nongovernmental programs to advance the fine arts such as those provided for in the National Cultural Center Act (Public Law 85-874), or the National Collection of Fine Arts Act (Public Law 85-357), but shall seek to complement and supplement them by the mobilization of cultural resources and their effective mobilization and utilization in order that the Nation's Capital may become equal in cultural matters to the capital cities of other nations.

SEC. 2. (a) In order to develop the plan provided for in the first section there is hereby established a Commission on the Cultural Resources in the Nation's Capital (hereafter in this Act referred to as the "Commission").

(b) The Commission shall be composed of thirty-five members as follows:

(1) The chairmen and the ranking minority members of the Committees on the District of Columbia, Foreign Relations, Public Works, and Labor and Public Welfare of the Senate;

(2) The chairmen and the ranking minority members of the Committees on the District of Columbia, Foreign Affairs, Public Works, and Education and Labor of the House of Representatives;

(3) The Secretary, Department of Health, Education, and Welfare; (4) The Commissioner of the United States Office of Education;

(5) The Assistant Secretary of State for Educational and Cultural Affairs;

(6) The President of the Board of Education of the District of Columbia; (7) The Superintendent of the District of Columbia Recreation Department;

(8) The Director of the National Collection of Fine Arts;

(9) The Administrator of General Services;