{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/qb9v11x872/manifest","type":"Manifest","label":{"en":["Bon Temps and Good News: The Influence of New Orleans on the Performance Style of Gospel Singer Mahalia Jackson"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Robert M. Marovich (Presenter)","Roberta Freund Schwartz (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2010-05-21 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["Mahalia Jackson migrated from New Orleans’ Fourteenth Ward to South Prairie Avenue in Chicago’s Bronzeville community just after Thanksgiving Day, 1928. It didn’t take long for the new settler to elicit astonishment from, and controversy among, conservative leaders of African American Chicago’s mainline Protestant churches. She bewildered restrained worshippers by giving a zesty twist to the hymns in the Baptist songbook, Gospel Pearls. Alongside traditional Baptist moaning and hymn-lining, Jackson added to her repertory the performance techniques of New Orleans funeral procession music, jazz, country blues and the sanctified church. While Chicago’s African American Protestant community was slow to embrace Jackson’s aural postcard from home, sanctified churches recognized her impact almost immediately. They invited her to participate in week-long revivals. Funeral homes sought her out to sing solace to the sorrowful. By the late 1930s, Jackson was one of the most popular gospel singers in Chicago. The woman who grew up in the impoverished Fourteenth Ward would eventually earn the title of “World’s Greatest Gospel Singer” and perform before kings, queens and presidents. Drawing upon primary and secondary sources from his research on gospel music in Chicago, historian Bob Marovich will offer a brief biography and rare photographs of Mahalia Jackson during her initial rise to fame in the Thirties and Forties. He will identify the New Orleans flavor in Jackson’s performances by comparing segments drawn from her Decca and Apollo sessions to recordings of various New Orleans musical styles."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["Mahalia Jackson migrated from New Orleans’ Fourteenth Ward to South Prairie Avenue in Chicago’s Bronzeville community just after Thanksgiving Day, 1928. It didn’t take long for the new settler to elicit astonishment from, and controversy among, conservative leaders of African American Chicago’s mainline Protestant churches. She bewildered restrained worshippers by giving a zesty twist to the hymns in the Baptist songbook, Gospel Pearls. Alongside traditional Baptist moaning and hymn-lining, Jackson added to her repertory the performance techniques of New Orleans funeral procession music, jazz, country blues and the sanctified church. While Chicago’s African American Protestant community was slow to embrace Jackson’s aural postcard from home, sanctified churches recognized her impact almost immediately. They invited her to participate in week-long revivals. Funeral homes sought her out to sing solace to the sorrowful. By the late 1930s, Jackson was one of the most popular gospel singers in Chicago. The woman who grew up in the impoverished Fourteenth Ward would eventually earn the title of “World’s Greatest Gospel Singer” and perform before kings, queens and presidents. Drawing upon primary and secondary sources from his research on gospel music in Chicago, historian Bob Marovich will offer a brief biography and rare photographs of Mahalia Jackson during her initial rise to fame in the Thirties and Forties. He will identify the New Orleans flavor in Jackson’s performances by comparing segments drawn from her Decca and Apollo sessions to recordings of various New Orleans musical styles."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128086/file/239769","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2010_Marovich_audio.mp3"]},"duration":2742.39494,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128086/file/239769/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128086/file/239769/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/239/769/original/ARSC_conf_2010_Marovich_audio.mp3?1714146582","type":"Audio","format":"audio/mpeg","duration":2742.39494,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128086/file/239769","metadata":[]}]}],"annotations":[]}]}