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THE
MAHALIA
JACKSON
SHOW
IS ON CBS SUNDAY NIGHT
D
C.	Souvenir postcard, Antoine's Restaurant
1938
gift of Erin M. Greenwald, 2010.0021.2
D Placard advertising The Mahalia Jackson Show on CBS
1954-55
acquisition made possible by the Clarisse Claiborne Qrima Fund, 92-48-L.79
E Mahalia Jackson with group of men and women
ca. 1954; photograph by William Russell, photographer acquisition made possible by the Clarisse Claiborne Crima Fund, 92-48-L.163
to the production, consumption, and	j*	**we	w	cm	At
1 HNOC I have spent time with	i,rs»	VI	* 20*>2 series of
oral histories with retired waiters from ihe	Uuhk ■ Hncj*r*nt MSS 632). I
aim to go beyond a traditional retelling of ifte ,£1 > fcnf fcnoon p-tifv -oice to eating establishments, cooks, and groups that Jrr	1	i	mmmrn	ili	loir contributions to
the diversity of the area’s culinary cultuic* ' ift MHrt *o»* to history, voices that can tell us how and why New Orlc*»i* Vuar Mhaa*> *	ttiiinary	capital.
Wiley Smith, for example, waited tabic*	c**t 4 Wt -rtw urv. He served
the Pope and the Duke and Duchess of .fkjM tV k	waiters had
to speak French and were refused the sk ot »	x>	dfiirtv ‘It was a career
for us,” he says on tape. “Being a waiter i* r*<	• B**.i «*>* * mb k, a corkscrew,
a wine opener, and a tip tray. That don t built i «mr fc,»iiam km	yourself and
how you help the people.”
Mark Burford, PhD, «j>uCuu	k.	^Bnc6-i
Nineteenth-century Europsaa «j—. |^>ular music in the United States form the focus of my t-faotii-iJ ; ■■	,-Ji. I research the circulation
and reception of black goeprl —~~c at	'	-	culture,	a	project
that led me to work on a bocV	MAkflif. 1 ^ r. Mi -----------"(uction to the Mahalia
Jackson Papers in the Willum SjsecJ	* n a I HNOC was transformative.
The collection indudes	v	■	_i___.md television shows, as well as
Russell’s own journal of	~	captures the fine-grain texture
of Jackson’s daily Iik. (Ruusil s£_ _	— *_ a iircich, meticulously taking notes.)
Captivating for me Km beea tfer n-f oc^c. tm*? lu sudy Jackson s rehearsals for her nationally brr*?«k-sr CBS	Jtor, tft- - E.t==ssll captured on a reel-to-reel tape
recorder. It was iiupinag to tes; Jsefceaa wvt^gle 10 find a (eel for a new song like “The Holy City" in 1954. thess aareJ as ilae voeamand and majesty of her performance of the song years later on a !**feO iKthb ies Ce-hi^ha Records. Hearing Jackson in this manner demystified and Uimnwd ifee	-Jt performance while also deepening my appreciation
of her artistry.
12 The Historic New Orleans Collection Quarterly