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 ownership of their personal data", as an advisory board member. Arrest in Ecuador
<mask> <mask> was arrested in an action that appeared to be coordinated with the revocation of asylum and arrest of Julian Assange, whom he counted as a personal friend and visited a dozen times during the time while he was being granted refuge in the Ecuadorian embassy. The government did not file charges, but made a statement that <mask> had been arrested for an "alleged participation in the crime of assault on the integrity of computer systems" that was being investigated.The action appeared to reflect a broad repudiation of the political goals of Rafael Correa by his former Vice President Lenin Moreno: in reference to <mask>'s arrest, Interior Minister María Paula Romo told media  "It’s up to the justice system to determine if he committed a crime. But we can’t allow Ecuador to become a center for piracy and spying. That period in our history is over." The Ecuadorian president, Lenin Moreno, announced on July 27, 2018 that he had begun talks with the British authorities to withdraw the Assange asylum. On April 11, 2019, the asylum was removed and Assange was arrested. <mask> <mask> was arrested the same day at the Quito airport when he was preparing to board a long-scheduled flight to Japan, to which he had planned to travel for training in Bujinkan Budo Taijutsu, a martial art he had practiced since 2007. He was initially sentenced to  90 days in prison in north Quito and his bank accounts were frozen.The arrest came a few hours after Assange was evicted from the Ecuadorian embassy in London. Bini carried at least 30 electronic storage devices. In response defense attorney Carlos Soria told Reuters "They are trying to link him with some sort of possible espionage case without any proof or evidence. He is a personal friend of Julian Assange, he is not a member of WikiLeaks, and being friends with somebody is not a crime — neither is having computers in your home." The attorney published a more detailed list of objections. Romo alleged

masks: Ola Bini Bini Bini Ola Bini


type: original

texts: that Bini had been involved in the plot with two Russian hackers and the former Foreign Minister Ricardo Patiño, who had granted asylum to Assange in 2012, asserting that Bini had travelled with the Foreign Minister to Peru, Spain, and Venezuela. Patiño responded, "The interior minister said the Swedish man that was arrested yesterday worked with me.I have never met him. Worse travelled with him. Nor do I know Russian hackers. The only Russians I know are: President Putin, the foreign minister Lavrov and the Russian ambassador." The following week Ecuador requested an Interpol Red Notice for Patiño, who fled the country after prosecutors attempted to charge him for encouraging protestors to block roads and enter public institutions the previous year. <mask>'s parents, Dag Gustafsson and Gorel Bin, said that their son had been threatened in prison and they would remain in Ecuador until he was released. They spoke at a press conference concerning his appeal and gave a half-hour interview with TeleSUR English.<mask>'s lawyers lodged an appeal against his detention on the grounds that he was arrested without a warrant and no evidence of an alleged crime was provided. Bin's appeal with the Provincial Court of Pichincha was decided 2-1 against <mask> on May 3: Judge Inés Romero favored the appeal, but judges Juana Pacheco and Fabián Fabara opposed it. On 20 June 2019, after <mask> had been in prison for 70 days, the Pichincha provincial court ruled that his detention was illegal and arbitrary and granted his habeas corpus request, ordering that he be released the following day. The charge of assault on a computer system remained in place. He was required to remain in Ecuador and to attend the prosecutor’s office weekly. On May 18 a server was taken from the offices of Telconet, which Ola Bini was described as renting for US$5000 per month. This action was initially described as a seizure during a search of company offices, but the company maintained that no search had occurred and the server was handed over under a mutual

masks: Bini Bini Bini Bini


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 agreement.Sources in the Ecuadorian prosecutor's office and the United States Justice Department told Associated Press that <mask> would be questioned by the United States on June 27. A pre-trial hearing on 16 December 2020 ruled that there was enough evidence against <mask> to proceed to trial. After several delays, judge Yadira Proaño issued on June 27, 2021 the order to begin the trial. Two weeks later, Proaño was removed from the trial after the defense alleged "procedural fraud" related to delays in the case. Reactions

Analysis and commentary
<mask>'s lawyer Carlos Soria, said the case was created to justify the removal of Assange from the embassy and to improve Moreno's public image which had been tarnished by the corruption scandal known as the INA papers. News reports of the case have suggested that it, like the revocation of Assange's asylum, might be a response to the publication of the "INA Papers" in March 2019, which detailed offshore financial transactions of Lenin Moreno and family members. The papers, which prompted investigation by the legislature, may have been referred to by Interior Minister Romo when she claimed to have "sufficient evidence that [Bini] was collaborating in attempts to destabilize the government."The papers were published on an independent web site and were disclosed in a news story by La Fuente;  Wikileaks has denied any role in obtaining or publishing the documents, and claims Assange himself was closely monitored and cut off from communication within the embassy. An open letter from a group of concerned leading citizens, including Noam Chomsky, Pamela Anderson, and Brian Eno, was published as an editorial in Aftonbladet. It called on the Swedish government to become politically involved in the case at a level beyond ordinary consular assistance. Organizations
The Electronic Frontier Foundation issued a statement that Ecuadorean authorities have "no reason" to detain <mask>, writing that "One might expect the Ecuadorean administration to hold up <mask> as an example of the

masks: Bini Bini Bini Bini Bini


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 high-tech promise of the country, and use his expertise to assist the new administration in securing their infrastructure — just as his own European Union made use of Ola’s expertise when developing its government-funded DECODE privacy project...  At EFF, we are familiar with overzealous prosecutors attempting to implicate innocent coders by portraying them as dangerous cyber-masterminds, as well as demonizing the tools and lifestyle of coders that work to defend the security of critical infrastructure, not undermine it. These cases are indicative of an inappropriate tech panic, and their claims are rarely borne out by the facts." Article 19 called for <mask>'s release, stating "ARTICLE 19 is concerned that the arrest and illegal detention of <mask> <mask> is part of a crackdown against the community of developers who build digital security technology tools which enable Internet freedoms and secure communication online." Amnesty International has also commented on his case.A Free Ola Bini website was established, with a solidarity letter citing many supporting organizations, which urges readers to join a Code Pink campaign supporting his release. Luis Enríquez, coordinator of the cyber-rights observatory at the Universidad Andina Simon Bolívar in Ecuador said "the Ecuadorian justice system has not acted independently". Amnesty International said it was concerned that <mask>’s right to the presumption of innocence had been affected by the actions and statements of  high-ranking Ecuadorian officials. In August 2021, the organisations Access Now and the Berkman Klein Center for Internet & Society published a report into internet security that included a discussion of <mask>'s case. The report said the case contained irregularities and was an example of the Ecuadorian government's persecution of the internet security community. Valeria Betancourt, from the Association for Progressive Communications, described <mask>'s case as the "antithesis of due process and the rule of law". References

1982 births
Living people
Swedish

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<mask> (; born 6 August 1985) is a French professional footballer who plays as a striker for Süper Lig club Galatasaray. <mask> played youth football with Saint-Étienne before making his professional debut for the club in 2004, also spending time on loan at Troyes in Ligue 2. In 2009, he joined Saint-Étienne's Derby du Rhone rivals Lyon for a fee of €13 million. Over five seasons at the Stade Gerland, he played 244 official matches and scored 95 goals, winning the Coupe de France and the Trophée des Champions in 2012. In 2014, he moved to Premier League club Swansea City on a free transfer. After a loan back in France at Marseille, he signed for Galatasaray, where he was top scorer as they won the Süper Lig in 2018. <mask> made 12 appearances for the French national team from 2008 to 2013, scoring three goals.He was a member of the squad for UEFA Euro 2008. Club career

Saint-Étienne

Born in La Seyne-sur-Mer, Var, <mask> made 13 appearances for Saint-Étienne in his first season with the club, scoring two league goals. In the next season, he made six goalless appearances for the club before going on loan to Troyes AC in a successful six-month loan deal, where he scored six goals in 13 matches. The 2005–06 season was not as successful as the previous season as he made 24 league appearances for Saint-Étienne, scoring only two league goals. The 2006–07 season was when <mask> established himself with Saint-Étienne, scoring ten goals in 30 appearances. <mask> continued this form into the 2007–08 season where he scored an impressive 16 goals in 34 appearances. In the 2008 summer transfer window, Newcastle United under manager Kevin Keegan reportedly offered a transfer fee of £10 million for <mask>' services.However, a move did not materialise and <mask> remained at Saint-Étienne. In an interview with French newspaper L'Équipe,

masks:
Bafétimbi Gomis
Gomis
Gomis
Gomis
Gomis
Gomis
Gomis
Gomis


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 <mask> stated he was attracted by a possible move to England, but revealed Serie A would be his preference. In the weeks leading up to the 2009 January transfer window, his name was again touted in speculation surrounding various Premier League sides, though he moved to allay the rumours, stating his desire to see out the Ligue 1 season with his current club. <mask>' form in the 2008–09 season was scrutinized more heavily than it was in the previous season. Despite this, <mask> successfully netted five times in 17 league appearances, and excelled with his performances in the UEFA Cup, scoring three times in four matches. Lyon
On 29 July 2009, Olympique Lyonnais announced that they had signed the striker for €13 million and the player had agreed to a five-year contract. With the move, <mask> became just the sixth player in French football history to transfer directly from Saint-Étienne to Derby du Rhône arch-rivals Lyon.On the first day of the 2011–12 Ligue 1 campaign, <mask> scored the winning goal in a 3–1 victory over Nice on 6 August 2011. On 24 September, he scored a first-half brace against Girondins de Bordeaux firing his side to a 3–1 away victory. <mask> bagged four goals in the last round of the 2011–12 UEFA Champions League group stage, helping Lyon to a 7–1 victory over Dinamo Zagreb and progression to the Round of 16 on goal difference. He also created a new record for the fastest Champions League hat-trick ever scored, beating the record owned by Mike Newell. On 25 February 2012, <mask> scored on a volley to bring his side level with league leaders PSG 1–1; the match finished in a dramatic 4–4 draw, after Lyon was winning 4–2. He replaced Alexandre Lacazette in the 70th minute in a derby match against former club Saint-Étienne on 17 March, and ten minutes later scored a 30-yard strike to earn his side a 1–0

masks: Gomis Gomis Gomis Gomis Gomis Gomis Gomis


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 victory. He continued his rich vein of form against relegation-threatened Sochaux on 24 March when he converted an Anthony Réveillère cross to earn his side a 2–1 victory.Swansea City
On 27 June 2014, <mask> signed a four-year contract at Swansea City after leaving Lyon at the end of the 2013–14 Ligue 1 season on a free transfer. He made his competitive debut in the opening match of the season on 16 August, replacing Wilfried Bony for the last 13 minutes of an eventual 2–1 win over Manchester United at Old Trafford. On 26 August he scored his first competitive goal for the club in a 1–0 victory over Rotherham United in the Second Round of the League Cup. <mask> scored his first Premier League goal on 9 November 2014 scoring the winner barely a minute after entering the field, as his side came from behind to beat Arsenal 2–1. At the beginning of 2015, with Bony leaving to the 2015 Africa Cup of Nations <mask> became the main forward for the Swans, starting the year with a brace at Tranmere Rovers at Prenton Park in a 2–6 win in the FA Cup. On 10 January, after equalising in a 1–1 home draw against West Ham United, he displayed a French flag in support of victims of recent shootings in Paris. On 4 April 2015, <mask> scored in the 38th minute against Hull City with a volley and further sealed the victory by chipping the ball over the Hull City keeper giving him his first Premier League brace and Swansea City a 3–1 victory.Loan to Marseille
On 29 July 2016, <mask> signed on loan to Marseille for the 2016–17 season. On 14 August, he made his debut in a 3–1 loss against Toulouse at the Stade Vélodrome. On 21 November, coach Rudi Garcia made him the captain of the squad for the remainder of the season. Across all competitions, <mask> scored 21 goals in 33 matches for l'OM. This included a hat-trick on 27 January 2017 in a 5–1 win

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 over Montpellier. Galatasaray
On 28 June 2017, <mask> joined the Turkish club Galatasaray for an undisclosed fee. He was convinced to join by their former players and his friends, Didier Drogba and Aurélien Chedjou.He made his debut for the Istanbul-based club on 13 July in the first leg of the second qualifying round of the Europa League away to Östersunds FK, a 2–0 loss. On 14 August, he made his Süper Lig debut as his team opened the season with a 4–1 win over Kayserispor. <mask> scored twice and assisted Younès Belhanda. In a game against Akhisarspor on 9 December, <mask> equalised in a 4–2 comeback win at the Türk Telekom Stadium but was later given a red card. On 23 February 2018, <mask> scored his first hat-trick in Turkey, in a 5–0 home win over Bursaspor. He added four more goals on 3 March in a 7–0 victory at Kardemir Karabükspor, between the 17th and 33rd minutes. He finished the campaign with 29 goals from 33 games, including the sole goal away to Göztepe to win the league title on the last day, making him the Gol Kralı (top scorer).Al-Hilal
On 24 August 2018, <mask> signed for Saudi champions Al-Hilal, on a two-year deal for a €7 million fee. The club finished as runners-up to Riyadh rivals Al-Nassr due to a dip of form in the final stretch of the season from <mask> and the rest of the team. With 21 goals, he was joint second top scorer behind the rivals' Abderrazak Hamdallah. <mask> scored 11 goals in the 2019 AFC Champions League, finishing the tournament as the top scorer, and contributing to winning the competition for Al-Hilal for the third time in 19 years. In the second leg of the 2019 AFC Champions League Final on 24 November, he scored the second goal in a 2–0 away win over Urawa Red Diamonds, which saw Al-Hilal win the title with a 3–0 aggregate victory; the title also allowed the team to qualify for


texts:
 the 2019 FIFA Club World Cup. <mask> was also awarded with the tournament MVP award for his role in delivering the title to Al-Hilal and became the first European player to be top scorer in the competition. On 14 December, <mask> de Tunis.On 21 December, he played in the second half of the third place game against CONCACAF champion Monterrey and scored a goal in the 64th minute that leveled the match 2–2. He also scored in the penalty shoot-out, but his team still lost the shoot-out 4–3. Overall, <mask> played three games in the Club World Cup and scored two goals. International career
Born in France, <mask> was also eligible to play for Senegal through his ancestry. On 8 May 2008, he said regarding his international future "I don't have to choose between the French or Senegalese teams, as I have not been called yet. The French team? It would be pretentious to ask for it, but I am not adverse to the French team."On 18 May 2008, <mask> was called up for the provisional French UEFA Euro 2008 squad, ahead of experienced striker David Trezeguet, due to his particularly good form towards the end of Saint-Étienne's season. <mask> scored two goals in 26 minutes in a warm-up match against Ecuador on 27 May. He was the first player to score twice on his debut for the national team since Zinedine Zidane. On 28 May, he was selected in the French squad ahead of Olympique de Marseille striker Djibril Cissé. On 9 June, <mask> won his third cap by coming on as a substitute for Nicolas Anelka in the scoreless draw against Romania. On 7 October 2009, he collapsed in the training for the match against the Faroe Islands. In 2011, after a good start of the season with Lyon, Laurent Blanc called up <mask> for UEFA Euro 2012 qualification matches against Albania and Bosnia and Herzegovina.Personal life
Gomis has a medical condition, suspected to

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texts:
 be reflex syncope, which means he is liable to faint during times of stress. This has caused him to faint during a number of matches. He is the cousin of fellow footballers Nampalys Mendy and Alexandre Mendy. Career statistics

Club

International

Scores and results list France's goal tally first, score column indicates score after each Gomis goal. Honours
Saint-Étienne
Ligue 2: 2003–04

Lyon
Coupe de France: 2011–12
Trophée des Champions: 2012

Galatasaray
Süper Lig: 2017–18

Al-Hilal
Saudi Professional League: 2019–20, 2020–21
King Cup: 2019–20
Saudi Super Cup: 2021
AFC Champions League: 2019, 2021

Individual
UNFP Player of the Month: January 2007
Gol Kralı: 2017–18
 Saudi Professional League Player of the Month: February 2019
AFC Champions League Top Scorer: 2019
AFC Champions League Most Valuable Player: 2019
AFC Champions League Fans' Best XI: 2019
AFC Champions League OPTA Best XI: 2019
Saudi Professional League top scorer: 2020–21

References

External links

France U-17 season 2001–02

1985 births
Living people
People from La Seyne-sur-Mer
Sportspeople from Var (department)
French footballers
France youth international footballers
France international footballers
Association football forwards
AS Saint-Étienne players
ES Troyes AC players
Olympique Lyonnais players
Swansea City A.F.C. players
Olympique de Marseille players
Galatasaray S.K. footballers
Al Hilal SFC players
Ligue 2 players
Ligue 1 players
Premier League players
Süper Lig players
Saudi Professional League players
UEFA Euro 2008 players
French expatriate footballers
Expatriate footballers in Saudi Arabia
Expatriate footballers in Turkey
Expatriate footballers in Wales
French expatriate sportspeople in Saudi Arabia
French expatriate sportspeople in Turkey
French expatriate sportspeople in Wales
Black French sportspeople
French people of Senegalese


texts:
<mask> ( ; born <mask>, June 7, 1954) is an American author of novels, poetry, and children's books featuring Native American characters and settings. She is an enrolled member of the Turtle Mountain Band of Chippewa Indians, a federally recognized tribe of the Anishinaabe (also known as Ojibwe and Chippewa). <mask> is widely acclaimed as one of the most significant writers of the second wave of the Native American Renaissance. She has written 28 books in all, including fiction, non-fiction, poetry, and children's books. In 2009, her novel The Plague of Doves was a finalist for the Pulitzer Prize for Fiction and received an Anisfield-Wolf Book Award. In November 2012, she received the National Book Award for Fiction for her novel The Round House. She is a 2013 recipient of the Alex Awards.She was awarded the Library of Congress Prize for American Fiction at the National Book Festival in September 2015. In 2021, she was awarded the Pulitzer Prize for Fiction for her novel The Night Watchman. She was married to author Michael Dorris and the two collaborated on a number of works. The couple separated in 1995. She is also the owner of Birchbark Books, a small independent bookstore in Minneapolis that focuses on Native American literature and the Native community in the Twin Cities. Personal life
<mask> was born on June 7, 1954, in Little Falls, Minnesota. She was the oldest of seven children born to <mask>, a German-American, and Rita (née Gourneau), a Chippewa woman (of half Ojibwe and half French blood).Both parents taught at a boarding school in Wahpeton, North Dakota, set up by the Bureau of Indian Affairs. <mask>'s maternal grandfather, Patrick Gourneau, served as tribal chairman for the federally recognized tribe of Turtle Mountain Band of Chippewa Indians for many years. Though not raised in a reservation, she often visited relatives there. She was raised "with all the accepted truths" of Catholicism. While <mask> was a

masks:
Louise Erdrich
Karen Louise Erdrich
Erdrich
Erdrich
Ralph Erdrich
Erdrich
Erdrich


texts: child, her father paid her a nickel for every story she wrote. Her sister Heidi became a poet and also lives in Minnesota; she publishes under the name Heid E<mask>. Another sister, Lise <mask>, has written children's books and collections of fiction and essays.<mask> attended Dartmouth College from 1972 to 1976. She was a part of the first class of women admitted to the college and earned an A.B. in English. During her first year, <mask> met Michael Dorris, an anthropologist, writer, and then-director of the new Native American Studies program. While attending Dorris' class, she began to look into her own ancestry, which inspired her to draw from it for her literary work, such as poems, short stories, and novels. During that time, she worked as a lifeguard, waitress, researcher for films, and as an editor for the Boston Indian Council newspaper The Circle. In 1978, <mask> enrolled in a Master of Arts program at Johns Hopkins University in Baltimore, Maryland.She earned the Master of Arts in the Writing Seminars in 1979. <mask> later published some of the poems and stories she wrote while in the M.A. program. She returned to Dartmouth as a writer-in-residence. After graduating from Dartmouth, <mask> remained in contact with Michael Dorris. He attended one of her poetry readings, became impressed with her work, and developed an interest in working with her. Although <mask> and Dorris were on two different sides of the world, <mask> in Boston and Dorris in New Zealand for field research, the two began to collaborate on short stories.The pair's literary partnership led them to a romantic relationship. They married in 1981, and raised three children whom Dorris had adopted as a single parent and three biological children together (Persia, Pallas, Madeline, Reynold Abel, Sava and Aza Marion). Reynold Abel suffered from fetal alcohol syndrome and in 1991, at age 23, he was killed when he was hit by a car. In 1995 their son Jeffrey

masks:
. Erdrich
Erdrich
Erdrich
Erdrich
Erdrich
Erdrich
Erdrich
Erdrich
Erdrich


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 Sava accused Dorris of committing child abuse; in 1997, after Dorris's death, their adopted daughter Madeline claimed that Dorris sexually abused her and <mask> had neglected to stop the abuse. Dorris and <mask> separated in 1995, and Dorris died by suicide in 1997. In his will, he only named his biological children with <mask>. In 2001, at age 47, Erdrich gave birth to a daughter, Azure, fathered by a Native American man <mask> declines to identify publicly.She discusses her pregnancy with Azure, and Azure's father, in her 2003 non-fiction book, Books and Islands in Ojibwe Country. She uses the name "Tobasonakwut" to refer to him. He is described as a traditional healer and teacher, who is eighteen years <mask>'s senior and a married man. In a number of publications, Tobasonakwut Kinew, who died in 2012, is referred to as <mask>'s partner and the father of Azure. When asked in an interview if writing is a lonely life for her, <mask> replied, "Strangely, I think it is. I am surrounded by an abundance of family and friends and yet I am alone with the writing. And that is perfect."<mask> lives in Minneapolis. Work
In 1975, <mask> won the American Academy of Poets Prize. In 1979 she wrote "The World's Greatest Fisherman", a short story about June Kashpaw, a divorced Ojibwe woman whose death by hypothermia brought her relatives home to a fictional North Dakota reservation for her funeral. She wrote this while "barricaded in the kitchen." At her husband's urging, she submitted it to the Nelson Algren Short Fiction prize in 1982, which it won, and eventually it became the first chapter of her debut novel, Love Medicine, published by Holt, Rinehart, and Winston in 1984. "When I found out about the prize I was living on a farm in New Hampshire near the college I'd attended," <mask> told an interviewer. "I was nearly broke and driving a car with bald tires.My mother knitted my sweaters, and all else I bought at thrift stores ... The

masks: Erdrich Erdrich Erdrich Erdrich Erdrich Erdrich Erdrich Erdrich Erdrich Erdrich


texts: recognition dazzled me. Later, I became friends with Studs Terkel and Kay Boyle, the judges, toward whom I carry a lifelong gratitude. This prize made an immense difference in my life." Love Medicine won the 1984 National Book Critics Circle Award. It has also been featured on the National Advanced Placement Test for Literature. In the early years of their marriage, <mask> and Michael Dorris often collaborated on their work, saying they plotted the books together, "talk about them before any writing is done, and then we share almost every day, whatever it is we've written" but "the person whose name is on the books is the one who's done most of the primary writing."They got started with "domestic, romantic stuff" published under the shared pen name of "Milou North" (Michael + <mask> + where they live). In 1982, <mask>'s story, "The World's Greatest Fisherman," won $5,000 in the Nelson Algren fiction competition. She expanded the story into the novel Love Medicine (1984), which won the National Book Critics Circle Award for Fiction. It is the only debut novel ever to receive that honor. <mask> later turned Love Medicine into a tetralogy that includes The Beet Queen (1986), Tracks (1988), and The Bingo Palace (1994). During the publication of Love Medicine, <mask> produced her first collection of poems, Jacklight (1984), which highlights the struggles between Native and non-Native cultures, as well as celebrating family, ties of kinship, autobiographical meditations, monologues, and love poetry. She incorporates elements of Ojibwe myths and legends.<mask> continues to write poems, which have been included in her collections. <mask> is best known as a novelist, and has published a dozen award-winning and best-selling novels. She followed Love Medicine with The Beet Queen (1986), which continued her technique of using multiple narrators and expanded the fictional reservation universe of Love Medicine to include the nearby town of

masks: Erdrich Louise Erdrich Erdrich Erdrich Erdrich Erdrich


texts: Argus, North Dakota.The action of the novel takes place mostly before World War II. Leslie Marmon Silko accused <mask>'s The Beet Queen of being more concerned with postmodern technique than with the political struggles of Native peoples. Tracks (1988) goes back to the early 20th century at the formation of the reservation. It introduces the trickster figure of Nanapush, who owes a clear debt to Ojibwe figure Nanabozho. Tracks shows early clashes between traditional ways and the Roman Catholic Church.The Bingo Palace (1994), set in the 1980s, describes the effects of a casino and a factory on the reservation community. Tales of Burning Love (1997) finishes the story of Sister Leopolda, a recurring character from all the previous books, and introduces a new set of European-American people into the reservation universe. The Antelope Wife (1998), <mask>'s first novel after her divorce from Dorris, was the first of her novels to be set outside the continuity of the previous books. She subsequently returned to the reservation and nearby towns. She has published five novels since 1998 dealing with events in that fictional area. Among these are The Last Report on the Miracles at Little No Horse (2001) and The Master Butchers Singing Club (2003). Both novels have geographic and character connections with The Beet Queen.In 2009, <mask> was a Pulitzer Prize finalist for The Plague of Doves and a National Book Award finalist for The Last Report on the Miracles at Little No Horse. It focuses on the historical lynching of four Native people wrongly accused of murdering a Caucasian family, and the effect of this injustice on the current generations. Most recently, her Pulitzer-Prize winning novel The Night Watchman (2020) concerns a campaign to defeat the 'termination bill' (introduced by Senator Arthur Vivian Watkins), and <mask> acknowledged her sources and its inspiration being her maternal grandfather's life. She also writes for

masks: Erdrich Erdrich Erdrich Erdrich


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 younger audiences; she has a children's picture book Grandmother's Pigeon, and her children's book The Birchbark House, was a National Book Award finalist. She continued the series with The Game of Silence, winner of the Scott O'Dell Award for Historical Fiction; and The Porcupine Year. Nonfiction and teaching
In addition to fiction and poetry, <mask> has published nonfiction. The Blue Jay's Dance (1995) is about her pregnancy and the birth of her first child.Books and Islands in Ojibwe Country traces her travels in northern Minnesota and Ontario's lakes following the birth of her last daughter. <mask> and her two sisters have hosted writers' workshops on the Turtle Mountain Indian Reservation in North Dakota. Influence and style
Her heritage from both parents is influential in her life and prominent in her work. Although many of <mask>'s works explore her Native American heritage, her novel The Master Butchers Singing Club (2003) featured the European, specifically German, side of her ancestry. The novel includes stories of a World War I veteran of the German Army and is set in a small North Dakota town. The novel was a finalist for the National Book Award. <mask>'s interwoven series of novels have drawn comparisons with William Faulkner's Yoknapatawpha novels.Like Faulkner's, <mask>'s successive novels created multiple narratives in the same fictional area and combined the tapestry of local history with current themes and modern consciousness. Birchbark Books
Her bookstore hosts literary readings and other events. <mask>'s new works are read here, and events celebrate the works and careers of other writers as well, particularly local Native writers. <mask> and her staff consider Birchbark Books to be a "teaching bookstore". In addition to books, the store sells Native art and traditional medicines, and Native American jewelry. Wiigwaas Press, a small nonprofit publisher founded by <mask> and her sister, is affiliated with

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<mask> (1851–1924) was a powerful political boss  and construction magnate in Pittsburgh, Pennsylvania, United States. Along with Christopher Magee (1848–1901), his political partner, the two ran the Republican Party machine that controlled the city for the final twenty years of the 19th century. Early life
He was born in Manchester, England, on May 26, 1851, to <mask>, an Irish immigrant, and <mask>, an Englishwoman by birth. The family emigrated later that year to the United States and settled in Pittsburgh's Sixth Ward, famous for its hard-scrabble politics, where his father established a small contracting business. Educated in the Pittsburgh Public Schools, Flinn dropped out at age 9 to deliver newspapers, shine shoes, and later apprentice in the gas and steam fitting trades. Politics
Flinn became politically active in the Republican Party as a ward boss collecting stray votes. He soon attained office in 1877 as a member of the Board of Fire Commissioners.Flinn quickly partnered with Christopher Magee, the city's Republican Party political boss. In 1877, he was elected to the State House to represent the Pittsburgh area by holding one of Allegheny County's allotted at-large seats. In 1882, <mask> was appointed chairman of the executive committee of the Pittsburgh Republican party, a position he held for the next 20 years, and in 1890 he was elected to the Pennsylvania State Senate, where he sponsored the Good Roads Act, which became law in 1895. He remained there until his resignation in 1902. From 1884 until 1912 he served as a delegate to every Republican National Convention. He was elected chairman of the State Republican Party at its May 1912 convention. His election was seen as a

masks:
William Flinn
John Flinn
Mary Hamilton Flinn
Flinn


texts:
 victory for the progressive wing of the party, which essentially took control of the party away from the more conservative Boies Penrose.Penrose, who had previously served as state committee chairman himself from 1903 through 1905, did not attend the convention, and did not seek re-elected to the post of Republican National Committeeman. <mask>, however, resigned the chairmanship after less than two months in office. A longtime supporter of Theodore Roosevelt, he expressed disappointment that the Republican Party chose not to nominate Roosevelt for President in the 1912 election, and instead nominated incumbent President <mask> Taft. He therefore followed Roosevelt out of the Republican Party, and would later become active in the state's Progressive Party. Penrose, for his part, would go on to wrest control of the State Party from Henry Wasson, one of Flinn's lieutenants who was left to lead the party following Flinn's departure. Business
Flinn's chief business interest was large-scale contracting. His firm of Booth and Flinn was formed in 1876 in association with James J. Booth.As a result of politics and a "lowest responsible bidder" scheme, Booth & Flinn won most large construction and paving contracts in Pittsburgh and Western Pennsylvania, where they built streets, trolley lines, and bridges, usually amid charges by competitors of graft. The firm built the Liberty Tunnels, Wabash Tunnel, and Armstrong Tunnels in Pittsburgh, and in the later years of the company's continuation, the Holland Tunnel between New York City and New Jersey. (Booth retired from the firm in 1898; George H. Flinn, son of the founder, succeeded him, and in 1924 two other sons, <mask> and A. Rex Flinn joined the

masks:
Flinn
William Howard
William


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 company). In The Shame of the Cities, the landmark 1903 book by Lincoln Steffens on political corruption in American cities, Steffens wrote about the alleged Flinn-Magee collusion: "Magee wanted power, Flinn wealth...Magee spent his wealth for more power, and Flinn spent his power for more wealth.... Magee attracted followers, Flinn employed them. He was useful to Magee, Magee was indispensable to him....Molasses and vinegar, diplomacy and force, mind and will, they were well mated." Reformers eventually reined in Flinn by passing legislation to curb corruption and kickbacks. Flinn was also president of the Duquesne Lumber Company and the Pittsburgh Silver Peak Gold Mining Company.He sat on the board of directors of the Arkansas Fuel Oil Company, the Arkansas Natural Gas Company, the Gulf Oil Corporation, and the Pittsburgh Coal Company. Personal life
He married Nancy Galbraith in 1874 and the couple had seven children: five boys (Howard died at the age of 2 years), two girls. His sons—<mask>, George, Ralph, and A. Rex—became prominent in business, three of them in their father's construction firm. His daughters, Mary and Edith, were important figures in local society. The family home, called Braemar, was in the city Highland Park district. Though raised Roman Catholic, Flinn was a member of Pittsburgh's Sixth United Presbyterian Church. Retirement
Flinn's political and business organization began to crumble in the late 1890s when a flap over the rigged bidding system came to a head with Edward Manning Bigelow, director of public works.By the 1902 elections reformers held sway and citizens voted down the machine. Magee himself had died in 1901 after a short illness. Flinn withdrew from local


texts:
 politics, as a result, and retired to a country estate north of the city called Beechwood Farm. He became a gentleman farmer of Guernsey cattle, German police dogs, and Belgian hares. During the winter months Flinn resided  in Florida, where at St. Petersburg he died on February 19, 1924, at the age of 72. He is interred at Homewood Cemetery in Pittsburgh. According to the Register of Wills of Pittsburgh and Allegheny County, J.N.Mackrell, Flinn's personal property and real estate at his death exceeded $11 million. Flinn is honored with several monuments throughout the city of Pittsburgh and the Allegheny County segment of Pennsylvania State Route 8 is named the <mask> Highway. His country estate is now a nature reserve, Beechwood Farms Nature Reserve, operated by the Audubon Society of Western Pennsylvania. Flinn's daughter Mary used some of her inheritance to build a country estate nearby Beechwood called Hartwood; today it is open to the public as a part of Hartwood Acres Park. References

1851 births
1924 deaths
Politicians from Pittsburgh
Pennsylvania state senators
Members of the Pennsylvania House of Representatives
Chairs of the Republican State Committee of Pennsylvania
American political bosses from Pennsylvania
Pennsylvania Republicans
Burials at Homewood


texts: <mask> ( ; born <mask>; October 26, 1911 – January 27, 1972) was an American gospel singer, widely considered one of the most influential vocalists of the 20th century. With a career spanning 40 years, <mask> was integral to the development and spread of gospel blues in black churches throughout the U.S. During a time when racial segregation was pervasive in American society, she met considerable and unexpected success in a recording career, selling an estimated 22 million records and performing in front of integrated and secular audiences in concert halls around the world. The granddaughter of enslaved people, <mask> was born and raised in poverty in New Orleans. She found a home in her church, leading to a lifelong dedication and singular purpose to deliver God's word through song. She moved to Chicago as an adolescent and joined the Johnson Singers, one of the earliest gospel groups. <mask> was heavily influenced by blues singer Bessie Smith, adapting her style to traditional Protestant hymns and contemporary songs. After making an impression in Chicago churches, she was hired to sing at funerals, political rallies, and revivals.For 15 years she functioned as what she termed a "fish and bread singer", working odd jobs between performances to make a living. Nationwide recognition came for <mask> in 1947 with the release of "Move On Up a Little Higher", selling two million copies and hitting the number two spot on Billboard charts, both firsts for gospel music. <mask>'s recordings captured the attention of jazz fans in the U.S. and France, and she became the first gospel recording artist to tour Europe. She regularly appeared on television and radio, and performed for many presidents and heads of state,

masks:
Mahalia Jackson
Mahala Jackson
Jackson
Jackson
Jackson
Jackson
Jackson


texts:
 including singing the national anthem at John F. Kennedy's Inaugural Ball in 1961. Motivated by her experiences living and touring in the South and integrating a Chicago neighborhood, she participated in the civil rights movement, singing for fundraisers and at the March on Washington for Jobs and Freedom in 1963. She was a vocal and loyal supporter of Martin Luther King, Jr. and a personal friend of his family. Throughout her career <mask> faced intense pressure to record secular music, but turned down high paying opportunities to concentrate on gospel.Completely self-taught, <mask> had a keen sense of instinct for music, her delivery marked by extensive improvisation with melody and rhythm. She was renowned for her powerful contralto voice, range, an enormous stage presence, and her  ability to relate to her audiences, conveying and evoking intense emotion during performances. Passionate and at times frenetic, she wept and demonstrated physical expressions of joy while singing. Her success brought about international interest in gospel music, initiating the "Golden Age of Gospel" making it possible for many soloists and vocal groups to tour and record. Popular music as a whole felt her influence and she is credited with inspiring rhythm and blues, soul, and rock and roll singing styles. Early life (1911 – )

<mask> <mask> was born to Charity Clark and <mask>, a stevedore and weekend barber. Clark and <mask> were unmarried, a common arrangement among black women in New Orleans at the time.He lived elsewhere, never joining Charity as a parent. Both sets of Mahalia's grandparents were born into slavery, her paternal grandparents on a rice plantation and her maternal grandparents on a cotton plantation in

masks:
Jackson
Jackson
Mahalia
Jackson
Johnny Jackson
Jackson


texts: Pointe Coupee Parish about  north of New Orleans. Charity's older sister, Mahala "Duke" Paul, was her daughter's namesake, sharing the spelling without the "I". Duke hosted Charity and their five other sisters and children in her leaky three-room shotgun house on Water Street in New Orleans' Sixteenth Ward. The family called Charity's daughter "Halie"; she counted as the 13th person living in Aunt Duke's house. As Charity's sisters found employment as maids and cooks, they left Duke's, though Charity remained with her daughter, Mahalia's half-brother Peter, and Duke's son Fred. Mahalia was born with bowed legs and infections in both eyes.Her eyes healed quickly but her Aunt Bell treated her legs with grease water massages with little result. For her first few years, Mahalia was nicknamed "Fishhooks" for the curvature of her legs. The Clarks were devout Baptists attending nearby Plymouth Rock Baptist Church. Sabbath was strictly followed, the entire house shut down on Friday evenings and did not open again until Monday morning. As members of the church, they were expected to attend services, participate in activities there, and follow a code of conduct: no jazz, no card games, and no "high life": drinking or visiting bars or juke joints. Dancing was only allowed in the church when one was moved by the spirit. The adult choir at Plymouth Rock sang traditional Protestant hymns, typically written by Isaac Watts and his contemporaries.<mask> enjoyed the music sung by the congregation more. These songs would be lined out: called out from the pulpit, with the congregation singing it back. They had a stronger rhythm, accentuated with clapping and foot-tapping, which <mask> later said gave her "the bounce" that

masks: Jackson Jackson


texts: carried with her decades later. She dutifully joined the children's choir at age four. Next door to Duke's house was a small Pentecostal church that <mask> never attended but stood outside during services and listened raptly. Music here was louder and more exuberant. The congregation included "jubilees" or uptempo spirituals in their singing.Shouting and stomping were regular occurrences, unlike at her own church. <mask> later remembered, "These people had no choir or no organ. They used the drum, the cymbal, the tambourine, and the steel triangle. Everybody in there sang, and they clapped and stomped their feet, and sang with their whole bodies. They had a beat, a rhythm we held on to from slavery days, and their music was so strong and expressive. It used to bring tears to my eyes." When <mask> was five, her mother became ill and died, the cause unknown.Aunt Duke took in <mask> and her half-brother at another house on Esther Street. Duke was severe and strict, with a notorious temper. <mask> split her time between working, usually scrubbing floors and making moss-filled mattresses and cane chairs, playing along the levees catching fish and crabs and singing with other children, and spending time at Mount Moriah Baptist Church where her grandfather sometimes preached. The full-time minister there gave sermons with a sad "singing tone" that <mask> later said would penetrate to her heart, crediting it with strongly influencing her singing style. Church became a home to <mask> where she found music and safety; she often fled there to escape her aunt's moods. She attended McDonough School 24, but was required to fill in for her various aunts if they were ill, so she rarely attended a full week of school;

masks: Jackson Jackson Jackson Jackson Jackson Jackson Jackson


texts:
 when she was 10, the family needed her more at home. She dropped out and began taking in laundry.<mask> worked, and she went to church on Wednesday evenings, Friday nights, and most of the day on Sundays. Already possessing a big voice at age 12, she joined the junior choir. She was surrounded by music in New Orleans, more often blues pouring out of her neighbors' houses, although she was fascinated with second line funeral processions returning from cemeteries when the musicians played brisk jazz. Her older cousin Fred, not as intimidated by Duke, collected records of both kinds. The family had a phonograph and while Aunt Duke was at work, <mask> played records by Bessie Smith, Mamie Smith, and Ma Rainey, singing along while she scrubbed floors. Bessie Smith was <mask>'s favorite and the one she most-often mimicked. <mask>'s legs began to straighten on their own when she was 14, but conflicts with Aunt Duke never abated.Whippings turned into being thrown out of the house for slights and manufactured infractions and spending many nights with one of her nearby aunts. The final confrontation caused her to move into her own rented house for a month, but she was lonely and unsure of how to support herself. After two aunts, Hannah and Alice, moved to Chicago, <mask>'s family, concerned for her, urged Hannah to take her back there with her after a Thanksgiving visit. Rise of gospel music in Chicago ()

In a very cold December, <mask> arrived in Chicago. For a week she was miserably homesick, unable to move off the couch until Sunday when her aunts took her to Greater Salem Baptist Church, an environment she felt at home in immediately, later stating it was "the most wonderful thing that ever happened to me".

masks: Jackson Jackson Jackson Jackson Jackson Jackson


texts: When the pastor called the congregation to witness, or declare one's experience with God, <mask> was struck by the spirit and launched into a lively rendition of "Hand Me Down My Silver Trumpet, Gabriel", to an impressed but somewhat bemused audience. The power of <mask>'s voice was readily apparent but the congregation was unused to such an animated delivery.She was nonetheless invited to join the 50-member choir, and a vocal group formed by the pastor's sons, Prince, Wilbur, and Robert Johnson, and Louise Lemon. They performed as a quartet, the Johnson Singers, with Prince as the pianist: Chicago's first black gospel group. Initially they hosted familiar programs singing at socials and Friday night musicals. They wrote and performed moral plays at Greater Salem with offerings going toward the church. <mask>'s arrival in Chicago occurred during the Great Migration, a massive movement of black Southerners to Northern cities. Between 1910 and 1970, hundreds of thousands of rural Southern blacks moved to Chicago, transforming a neighborhood in the South Side into Bronzeville, a black city within a city which was mostly self sufficient, prosperous, and teeming in the 1920s. This movement caused white flight with whites moving to suburbs, leaving established white churches and synagogues with dwindling members.Their mortgages were taken over by black congregations in good position to settle in Bronzeville. Members of these churches were, in <mask>'s term, "society Negroes" who were well educated and eager to prove their successful assimilation into white American society. Musical services tended to be formal, presenting solemnly delivered hymns written by Isaac Watts and other European composers. Shouting

masks: Jackson Jackson Jackson Jackson


texts: and clapping were generally not allowed as they were viewed as undignified. Special programs and musicals tended to feature sophisticated choral arrangements to prove the quality of the choir. This difference between the styles in Northern urban churches and the South was vividly illustrated when the Johnson Singers appeared at a church one evening and <mask> stood out to sing solo, scandalizing the pastor with her exuberant shouts. He accused her of blasphemy, bringing "twisting jazz" into the church.<mask> was momentarily shocked before retorting, "This is the way we sing down South!" The minister was not alone in his apprehension. She was often so involved in singing she was mostly unaware how she moved her body. To hide her movements, pastors urged her to wear loose fitting robes which she often lifted a few inches from the ground, and they accused her of employing "snake hips" while dancing when the spirit moved her. Enduring another indignity, <mask> scraped together four dollars () to pay a talented black operatic tenor for a professional assessment of her voice. She was dismayed when the professor chastised her: "You've got to learn to stop hollering. It will take time to build up your voice.The way you sing is not a credit to the Negro race. You've got to learn to sing songs so that white people can understand them." Soon <mask> found the mentor she was seeking. Thomas A. Dorsey, a seasoned blues musician trying to transition to gospel music, trained <mask> for two months, persuading her to sing slower songs to maximize their emotional effect. Dorsey had a motive: he needed a singer to help sell his sheet music. He recruited <mask> to stand on Chicago street corners with him and sing his songs,


texts:
 hoping to sell them for ten cents a page. It was not the financial success Dorsey hoped for, but their collaboration resulted in the unintentional conception of gospel blues solo singing in Chicago.Fish and bread singer ( – 1945)

Steadily, the Johnson Singers were asked to perform at other church services and revivals. When larger, more established black churches expressed little interest in the Johnson Singers, they were courted by smaller storefront churches and were happy to perform there, though less likely to be paid as much or at all. Newly arrived migrants attended these storefront churches; the services were less formal and reminiscent of what they had left behind. <mask> found an eager audience in new arrivals, one calling her "a fresh wind from the down-home religion." Black Chicago was hit hard by the Great Depression, driving church attendance throughout the city, which <mask> credited with starting her career. Gradually and by necessity, larger churches became more open to <mask>'s singing style. As many of them were suddenly unable to meet their mortgage notes, adapting their musical programs became a viable way to attract and keep new members.When she first arrived in Chicago, <mask> dreamed of being a nurse or a teacher, but before she could enroll in school she had to take over Aunt Hannah's job when she became ill. <mask> became a laundress and took a series of domestic and factory jobs while the Johnson Singers began to make a meager living, earning from $1.50 to $8 (equivalent to $ to $ in ) a night. Steady work became a second priority to singing. <mask> began calling herself a "fish and bread singer", working for herself and God. She made her first recordings in 1931, singles


texts: that she intended to sell at National Baptist Convention meetings, though she was mostly unsuccessful. But as her audiences grew each Sunday, she began to get hired as a soloist to sing at funerals and political rallies for Louis B. Anderson and William L. Dawson. In 1932, on Dawson's request, she sang for Franklin D. Roosevelt's presidential campaign. She had become the only professional gospel singer in Chicago.Sometimes she made $10 a week () in what historian Michael Harris calls "an almost unheard-of professionalization of one's sacred calling". As opportunities came to her, an extraordinary moral code directed <mask>'s career choices. Her lone vice was frequenting movie and vaudeville theaters until her grandfather visited one summer and had a stroke while standing in the sun on a Chicago street. <mask> pleaded with God to spare him, swearing she would never go to a theater again. He survived and <mask> kept her promise, refusing to attend as a patron and rejecting opportunities to sing in theaters for her entire career. She furthermore vowed to sing gospel exclusively despite intense pressure. In 1935, <mask> met Isaac "Ike" Hockenhull, a chemist working as a postman during the Depression.Impressed with his attention and manners, <mask> married him after a year-long courtship. Hockenhull's mother gave the couple 200 formulas for homemade hair and skincare products she had sold door to door. Hockenhull and <mask> made cosmetics in their kitchen and she sold jars when she traveled. It was not steady work, and the cosmetics did not sell well. At one point Hockenhull had been laid off and he and <mask> had less than a dollar between them. He saw that auditions for The Swing Mikado, a jazz-flavored


texts: retelling of the Gilbert and Sullivan opera, were taking place. He demanded she go; the role would pay $60 a week ().Plus, he saw no value in singing gospel. He did not consider it artful. He had repeatedly urged her to get formal training and put her voice to better use. She refused and they argued about it often. Wracked by guilt, she attended the audition, later calling the experience "miserable" and "painful". When she got home she learned that the role was offered to her, but when Hockenhull informed her he also secured a job she immediately rejected the role to his disbelief. She furthermore turned down Louis Armstrong and Earl "Fatha" Hines when they offered her jobs singing with their bands.In 1937, <mask> met Mayo "Ink" Williams, a music producer who arranged a session with Decca Records. She recorded four singles: "God's Gonna Separate the Wheat From the Tares", "You Sing On, My Singer", "God Shall Wipe Away All Tears", and "Keep Me Every Day". <mask> told neither her husband or Aunt Hannah, who shared her house, of this session. The records' sales were weak, but were distributed to jukeboxes in New Orleans, one of which <mask>'s entire family huddled around in a bar, listening to her again and again. Decca said they would record her further if she sang blues, and once more <mask> refused. The Johnson Singers folded in 1938, but as the Depression lightened <mask> saved some money, earned a beautician's license from Madam C. J. Walker's school, and bought a beauty salon in the heart of Bronzeville. It was almost immediately successful and the center of gospel activity.Singers, male and female, visited while <mask> cooked for large groups of friends and customers on a two-burner stove in the


texts: rear of the salon. It was located across the street from Pilgrim Baptist Church, where Thomas Dorsey had become music director. Dorsey proposed a series of performances to promote his music and her voice and she agreed. They toured off and on until 1951. It was regular and, they felt, necessary work. Dorsey accompanied <mask> on piano, often writing songs specifically for her. His background as a blues player gave him extensive experience improvising and he encouraged <mask> to develop her skills during their performances by handing her lyrics and playing chords while she created melodies, sometimes performing 20 or more songs this way.She was able to emote and relate to audiences profoundly well; her goal was to "wreck" a church, or cause a state of spiritual pandemonium among the audience which she did consistently. At one event, in an ecstatic moment Dorsey jumped up from the piano and proclaimed, "<mask> <mask> is the Empress of gospel singers! She's the Empress! The Empress!!" A constant worker and a shrewd businesswoman, <mask> became the choir director at St. Luke Baptist Church. She bought a building as a landlord, then found the salon so successful she had to hire help to care for it when she traveled on weekends. On tour, she counted heads and tickets to ensure she was being paid fairly.What she was able to earn and save was done in spite of Hockenhull. A compulsive gambler, he took home a large payout asking <mask> to hide it so he would not gamble it. She laid the stash in flat bills under a rug assuming he would never look there, then went to a weekend performance in Detroit. When she returned, she realized he had found it and used it to buy a race horse. In 1943, he brought home a new

masks: Jackson Jackson Mahalia Jackson Jackson Jackson


texts:
 Buick for her that he promptly stopped paying for. She paid for it entirely, then learned he had used it as collateral for a loan when she saw it being repossessed in the middle of the day on the busiest street in Bronzeville. They divorced amicably.Apollo Records and national recognition (1946–1953)

Each engagement <mask> took was farther from Chicago in a nonstop string of performances. In 1946 she appeared at the Golden Gate Ballroom in Harlem. In attendance was Art Freeman, a music scout for Apollo Records, a company catering to black artists and audiences concentrating mostly on jazz and blues. Apollo's chief executive Bess Berman was looking to broaden their representation to other genres, including gospel. Berman signed <mask> to a four-record session, allowing <mask> to pick the songs. Her first release on Apollo, "Wait 'til My Change Comes" backed with "I'm Going to Tell God All About it One of These Days" did not sell well. Neither did her second, "I Want to Rest" with "He Knows My Heart".Berman asked <mask> to record blues and she refused. Berman told Freeman to release <mask> from any more recordings but Freeman asked for one more session to record the song <mask> sang as a warmup at the Golden Gate Ballroom concert. "Move On Up a Little Higher" was recorded in two parts, one for each side of the 78 rpm record. Meanwhile, Chicago radio host Louis "Studs" Terkel heard <mask>'s records in a music shop and was transfixed. He bought and played them repeatedly on his show. Terkel introduced his mostly white listeners to gospel music and <mask> herself, interviewing her and asking her to sing live. "Move On Up a Little Higher" was released in 1947, selling 50,000 copies in Chicago and 2 million

masks: Jackson Jackson Jackson Jackson Jackson Jackson Jackson Jackson


texts: nationwide.It landed at the number two spot on the Billboard charts for two weeks, another first for gospel music. The best any gospel artist could expect to sell was 100,000. Berman set <mask> up for another recording session, where she sang "Even Me" (one million sold), and "Dig a Little Deeper" (just under one million sold). Instantly <mask> was in high demand. A position as the official soloist of the National Baptist Convention was created for her, and her audiences multiplied to the tens of thousands. She campaigned for Harry Truman, earning her first invitation to the White House. Time constraints forced her to give up the choir director position at St. Luke Baptist Church and sell the beauty shop.True to her own rule, she turned down lucrative appearances at New York City institutions the Apollo Theater and the Village Vanguard, where she was promised $5,000 a week (). The next year, promoter Joe Bostic approached her to perform in a gospel music revue at Carnegie Hall, a venue most often reserved for classical and well established artists such as Benny Goodman and Duke Ellington. <mask> was intimidated by this offer and dreaded the approaching date. Gospel had never been performed at Carnegie. <mask> was the final artist to appear that evening. After a shaky start, she gave multiple encores and received voluminous praise: Nora Holt, a music critic with the black newspaper The New York Amsterdam News, wrote that <mask>'s rendition of "City Called Heaven" was filled with "suffering ecstasy" and that <mask> was a "genius unspoiled". John Hammond, critic at the Daily Compass, praised <mask>'s powerful voice which "she used ... with reckless abandon".The revue was so successful it was made an annual


texts: event with <mask> headlining for years. The show that took place in 1951 broke attendance records set by Goodman and Arturo Toscanini. By chance, a French jazz fan named Hugues Panassié visited the Apollo Records office in New York and discovered <mask>'s music in the waiting room. He bought her records, took them home and played them on French public radio. The Académie Charles Cros awarded <mask> their Grand Prix du Disque for "I Can Put My Trust in Jesus"; <mask> was the first gospel singer to receive this award. During the same time, <mask> and blues guitarist John Lee Hooker were invited to a ten-day symposium hosted by jazz historian Marshall Stearns who gathered participants to discuss how to define jazz. <mask> was accompanied by her pianist Mildred Falls, together performing 21 songs with question and answer sessions from the audience, mostly filled with writers and intellectuals.As <mask>'s singing was often considered jazz or blues with religious lyrics, she fielded questions about the nature of gospel blues and how she developed her singing style. Toward the end, a participant asked <mask> what parts of gospel music come from jazz, and she replied, "Baby, don't you know the Devil stole the beat from the Lord?" Those in the audience wrote about <mask> in several publications. Her records were sent to the UK, traded there among jazz fans, earning <mask> a cult following on both sides of the Atlantic, and she was invited to tour Europe. <mask> had her first television appearance on Toast of the Town with Ed Sullivan in 1952. As she prepared to embark on her first tour of Europe, she began having difficulty breathing during and after performances and had severe abdominal cramping. She continued

masks: Jackson Jackson Jackson Jackson Jackson Jackson Jackson Jackson Jackson Jackson Jackson


texts:
 with her plans for the tour where she was very warmly received.In jazz magazine DownBeat, Mason Sargent called the tour "one of the most remarkable, in terms of audience reaction, ever undertaken by an American artist". Her appearance at the Royal Albert Hall in London made her the first gospel singer to perform there since the Fisk Jubilee Singers in 1872, and she pre-sold 20,000 copies of "Silent Night" in Copenhagen. She played numerous shows while in pain, sometimes collapsing backstage. She lost a significant amount of weight during the tour, finally having to cancel. When she returned to the U.S., she had a hysterectomy and doctors found numerous granulomas in her abdomen. She was diagnosed with sarcoidosis, a systemic inflammatory disease caused by immune cells forming lumps in organs throughout the body. Sarcoidosis is not curable, though it can be treated, and following the surgery, <mask>'s doctors were cautiously optimistic that with treatment she could carry on as normal.Columbia Records and civil rights activism (1954–1963)

In 1954, <mask> learned that Berman had been withholding royalties and had allowed her contract with Apollo to expire. Mitch Miller offered her a $50,000-a-year () four-year contract, and <mask> became the first gospel artist to sign with Columbia Records, a much larger company with the ability to promote her nationally. Miller attempted to make her repertoire more appealing to white listeners, asking her to record ballads and classical songs, but again she refused. "Rusty Old Halo" became her first Columbia single, and DownBeat declared <mask> "the greatest spiritual singer now alive". Columbia worked with a local radio affiliate in Chicago to create a half hour radio


texts: program, The Mahalia <mask> Show. Although it got an overwhelmingly positive reception and producers were eager to syndicate it nationally, it was cut to ten minutes long, then canceled. She appeared on a local television program, also titled The <mask> <mask> Show, which again got a positive reception but was canceled for lack of sponsors.Despite white people beginning to attend her shows and sending fan letters, executives at CBS were concerned they would lose advertisers from Southern states who objected to a program with a black person as the primary focus. <mask> attracted the attention of the William Morris Agency, a firm that promoted her by booking her in large concert halls and television appearances with Arthur Godfrey, Dinah Shore, Bing Crosby, and Perry Como in the 1950s. Her reverence and upbeat, positive demeanor made her desirable to progressive producers and hosts eager to feature a black person on television. She appeared at the 1956 Democratic National Convention, silencing a rowdy hall of attendees with "I See God". Miller, who was in attendance, was awed by it, noting "there wasn't a dry eye in the house when she got through". <mask> broke into films playing a missionary in St. Louis Blues (1958), and a funeral singer in Imitation of Life (1959). As demand for her rose, she traveled extensively, performing 200 dates a year for ten years.She and her entourage of singers and accompanists toured deeper into the South, encountering difficulty finding safe, clean places to sleep, eat, and buy gas due to Jim Crow laws. Sometimes they had to sleep in <mask>'s car, a Cadillac she had purchased to make long trips more comfortable. <mask> remembered, "The looks of anger at the sight of us

masks: Jackson Mahalia Jackson Jackson Jackson Jackson Jackson


texts: colored folks sitting in a nice car were frightening to see... It got so we were living on bags of fresh fruit during the day and driving half the night, and I was so exhausted by the time I was supposed to sing, I was almost dizzy." <mask> began to gain weight. She also developed peculiar habits regarding money. As a black woman, <mask> found it often impossible to cash checks when away from Chicago.Her contracts therefore demanded she be paid in cash, often forcing her to carry tens of thousands of dollars in suitcases and in her undergarments. Each event in her career and personal life broke another racial barrier. She often asked ushers to allow white and black people to sit together, sometimes asking the audiences to integrate themselves by telling them that they were all Christian brothers and sisters. After years of receiving complaints about being loud when she practiced in her apartment, even in the building she owned, <mask> bought a house in the all-white Chatham Village neighborhood of Chicago. When this news spread, she began receiving death threats. The day she moved in her front window was shot. <mask> asked Richard Daley, the mayor of Chicago, for help and Daley ordered police presence outside her house for a year.A few months later, <mask> appeared live on the television special Wide Wide World singing Christmas carols from Mount Moriah, her childhood church in New Orleans. The broadcast earned excellent reviews, and <mask> received congratulatory telegrams from across the nation. Yet the next day she was unable to get a taxi or shop along Canal Street. While attending the National Baptist Convention in 1956, <mask> met Martin Luther King Jr. and Ralph Abernathy, both ministers emerging


texts: as organizers protesting segregation. <mask> often sang to support worthy causes for no charge, such as raising money to buy a church an organ, robes for choirs, or sponsoring missionaries. She extended this to civil rights causes, becoming the most prominent gospel musician associated with King and the civil rights movement. She raised money for the United Negro College Fund and sang at the Prayer Pilgrimage Breakfast in 1957.She later stated she felt God had especially prepared King "with the education and the warmth of spirit to do His work". Motivated  by her sincere appreciation that civil rights protests were being organized within churches and its participants inspired by hymns, she traveled to Montgomery, Alabama to sing in support of the ongoing bus boycott. She and Mildred Falls stayed at Abernathy's house in a room that was bombed four months later. After hearing that black children in Virginia were unable to attend school due to integration conflicts, she threw them an ice cream party from Chicago, singing to them over a telephone line attached to a public address system. She similarly supported a group of black sharecroppers in Tennessee facing eviction for voting. As gospel music became more popular – primarily due to her influence – singers began appearing at non-religious venues as a way to spread a Christian message to nonbelievers. <mask> appeared at the Newport Jazz Festival in 1957 and 1958, and in the latter's concert film, Jazz on a Summer's Day (1959).Her continued television appearances with Steve Allen, Red Skelton, Milton Berle, and Jimmy Durante kept her in high demand. She toured Europe again in 1961 with incredible success, mobbed in several cities and needing police


texts:
 escorts. All dates in Germany were sold out weeks in advance. In Essen, she was called to give so many encores that she eventually changed into her street clothes and the stage hands removed the microphone. Still she sang one more song. The highlight of her trip was visiting the Holy Land, where she knelt and prayed at Calvary. When King was arrested and sentenced to four months hard labor, presidential candidate John F. Kennedy intervened, earning <mask>'s loyal support.She began campaigning for him, saying, "I feel that I'm a part of this man's hopes. He lifts my spirit and makes me feel a part of the land I live in." Her clout and loyalty to Kennedy earned her an invitation to sing "The Star-Spangled Banner" at his inaugural ball in 1961. Months later, she helped raise $50,000 for the Southern Christian Leadership Conference. <mask> lent her support to King and other ministers in 1963 after their successful campaign to end segregation in Birmingham by holding a fundraising rally to pay for protestors' bail. By this time she was a personal friend of King and his wife Coretta, often hosting them when they visited Chicago, and spending Thanksgiving with their family in Atlanta. King considered <mask>'s house a place that he could truly relax.She appeared at the March on Washington for Jobs and Freedom to sing "I've Been 'Buked and I've Been Scorned" on King's request, then "How I Got Over". Three months later, while rehearsing for an appearance on Danny Kaye's television show, <mask> was inconsolable upon learning that Kennedy had been assassinated, believing that he died fighting for the rights of black Americans. Later years (1964—1972)

<mask> toured Europe again in 1964, mobbed in several cities

masks: Jackson Jackson Jackson Jackson Jackson


texts: and proclaiming, "I thought I was the Beatles! ", in Utrecht. She appeared in the film The Best Man (1964), and attended a ceremony acknowledging Lyndon Johnson's inauguration at the White House, becoming friends with Lady Bird. When at home, she attempted to remain approachable and maintain her characteristic sincerity. Mostly in secret, <mask> had paid for the education of several young people as she felt poignant regret that her own schooling was cut short.Stories of her gifts and generosity spread. Her phone number continued to be listed in the Chicago public telephone book, and she received calls nonstop from friends, family, business associates, and strangers asking for money, advice on how to break into the music industry, or general life decisions they should make. Her house had a steady flow of traffic that she welcomed. <mask> had thoroughly enjoyed cooking since childhood, and took great pleasure in feeding all of her visitors, some of them staying days or weeks on her request. Through friends, <mask> met Sigmond Galloway, a former musician in the construction business living in Gary, Indiana. Despite <mask>'s hectic schedule and the constant companions she had in her entourage of musicians, friends, and family, she expressed loneliness and began courting Galloway when she had free time. As a complete surprise to her closest friends and associates, <mask> married him in her living room in 1964.Only a few weeks later, while driving home from a concert in St. Louis, she found herself unable to stop coughing. She checked herself into a hospital in Chicago. Since the cancellation of her tour to Europe in 1952, <mask> experienced occasional bouts of fatigue and shortness of breath. As her schedule


texts: became fuller and more demands placed on her, these episodes became more frequent. This time, the publicly disclosed diagnosis was heart strain and exhaustion, but in private <mask>'s doctors told her that she had had a heart attack and sarcoidosis was now in her heart. <mask>'s recovery took a full year during which she was unable to tour or record, ultimately losing . From this point on she was plagued with near-constant fatigue, bouts of tachycardia, and high blood pressure as her condition advanced.<mask> was often depressed and frustrated at her own fragility, but she took the time to send Lyndon Johnson a telegram urging him to protect marchers in Selma, Alabama when she saw news coverage of Bloody Sunday. Galloway proved to be unreliable, leaving for long periods during <mask>'s convalescence, then upon his return insisting she was imagining her symptoms. He tried taking over managerial duties from agents and promoters despite being inept. They argued over money; Galloway attempted to strike <mask> on two different occasions, the second one thwarted when <mask> ducked and he broke his hand hitting a piece of furniture behind her. The marriage dissolved and she announced her intention to divorce. He responded by requesting a jury trial, rare for divorces, in an attempt to embarrass her by publicizing the details of their marital problems. When Galloway's infidelities were proven in testimony, the judge declined to award him any of <mask>'s assets or properties.Her doctors cleared her to work and <mask> began recording and performing again, pushing her limitations by giving two- and three-hour concerts. She performed exceptionally well belying her personal woes and ongoing health problems. When not


texts: on tour, she concentrated her efforts on building two philanthropies: the Mahalia Jackson Foundation which eventually paid tuition for 50 college students, and the culmination of a dream she had for ten years: a nondenominational temple for young people in Chicago to learn gospel music. As she organized two large benefit concerts for these causes, she was once more heartbroken upon learning of the assassination of Martin Luther King Jr. She attended the funeral in Atlanta where she gave one of her most memorable performances of "Take My Hand, Precious Lord". With this, <mask> retired from political work and personal endorsements. Branching out into business, <mask> partnered with comedian Minnie Pearl in a chain of restaurants called Mahalia <mask>'s Chicken Dinners and lent her name to a line of canned foods. She purchased a lavish condominium in Chicago overlooking Lake Michigan and set up room for Galloway, who she was considering remarrying.At 58 years old, she returned to New Orleans, finally allowed to stay as a guest in the upscale Royal Orleans hotel, receiving red carpet treatment. She embarked on a tour of Europe in 1968, which she cut short for health reasons, but she returned in 1969 to adoring audiences. Now experiencing inflammation in her eyes and painful cramps in her legs and hands, she undertook successful tours of the Caribbean, still counting the house to ensure she was being paid fairly, and Liberia in West Africa. In 1971, <mask> made television appearances with Johnny Cash and Flip Wilson. For three weeks she toured Japan, becoming the first Western singer since the end of World War II to give a private concert for the Imperial Family. The U.S. State Department sponsored a visit


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 to India, where she played Kolkata, New Delhi, Madras, and Mumbai, all of them sold out within two hours. In New Delhi, she had an unexpected audience with Prime Minister Indira Gandhi who declared, "I will never hear a greater voice; I will never know a greater person."While touring Europe months later, <mask> became ill in Germany and flew home to Chicago where she was hospitalized. In January 1972, she received surgery to remove a bowel obstruction and died in recovery. Although news outlets had reported on her health problems and concert postponements for years, her death came as a shock to many of her fans. She received a funeral service at Greater Salem Baptist Church in Chicago where she was still a member. Fifty thousand people paid their respects, many of them lining up in the snow the night before, and her peers in gospel singing performed in her memory the next morning. The day after, Mayor Richard Daley and other politicians and celebrities gave their eulogies at the Arie Crown Theater with 6,000 in attendance. Her body was returned to New Orleans where she lay in state at Rivergate Auditorium under a military and police guard, and 60,000 people viewed her casket.On the way to Providence Memorial Park in Metairie, Louisiana, the funeral procession passed Mount Moriah Baptist Church, where her music was played over loudspeakers. Style

Singing

Though the gospel blues style <mask> employed was common among soloists in black churches, to many white jazz fans it was novel. As she was the most prominent — and sometimes the only gospel singer many white listeners knew — she often received requests to define the style and explain how and why she sang as she did. <mask> was mostly untrained, never

masks: Jackson Jackson Jackson


texts: learning to read or write musical notation, so her style was heavily marked by instinct. She answered questions to the best of her ability though often responded with lack of surety, saying, "All I ever learned was just to sing the way I feel... off-beat, on the beat, between beats — however the Lord lets it come out." When pressed for clearer descriptions, she replied, "Child, I don't know how I do it myself." <mask>'s voice is noted for being energetic and powerful, ranging from contralto to soprano, which she switched between rapidly.She resisted labeling her voice range instead calling it "real strong and clear". She used bent or "worried" notes typical of blues, the sound of which jazz aficionado Bucklin Moon described as "an almost solid wall of blue tonality". She moaned, hummed, and improvised extensively with rhythm and melody, often embellishing notes with a prodigious use of melisma, or singing several tones per syllable. Author Anthony Heilbut called it a "weird ethereal sound, part moan, part failed operatics". Gospel historian Horace Boyer attributes <mask>'s "aggressive style and rhythmic ascension" to the Pentecostal congregation she heard as a child, saying <mask> was "never a Baptist singer". He continues: "bending a note here, chopping off a note there, singing through rest spots and ornamenting the melodic line at will, [<mask>] confused pianists but fascinated those who played by ear". Bucklin Moon was enamored with her singing, writing that the embellishments <mask> added "take your breath away.As a member of a Sanctified Church in Mount Vernon once told me: 'Mahalia, she add more flowers and feathers than anybody, and they all is exactly right.' She breaks every rule of concert


texts: singing, taking breaths in the middle of a word and sometimes garbling the words altogether, but the full-throated feeling and expression are seraphic." Writer Ralph Ellison noted how she blended precise diction with a thick New Orleans accent, describing the effect as "almost of the academy one instant, and of the broadest cotton field dialect the next". By her own admission and in the opinion of multiple critics and scholars, Bessie Smith's singing style was clearly dominant in <mask>'s voice. In Melody Maker, Max Jones contrasted the two: "Whereas Bessie's singing can sound harsh and unlovely, even to jazz students, on first acquaintance, Mahalia's voice is obviously an instrument of uncommon beauty... Her bursts of power and sudden rhythmic drives build up to a pitch that leave you unprepared to listen afterwards to any but the greatest of musicians." Other singers made their mark.In her early days in Chicago, <mask> saved her money to buy records by classical singers Roland Hayes, Grace Moore, and Lawrence Tibbett, attributing her diction, breathing, and she said, "what little I know of technique" to these singers. Improvisation was a significant part of <mask>'s live performances both in concert halls and churches. She often stretched what would be a five-minute recording to twenty-five minutes to achieve maximum emotional effect. In black churches, this was a regular practice among gospel soloists who sought to evoke an emotional purging in the audience during services. White and non-Christian audiences also felt this resonance. After one concert, critic Nat Hentoff wrote, "The conviction and strength of her rendition had a strange effect on the secularists present, who were won over to Mahalia


texts:
 if not to her message. Most of them were amazed at the length of time after the concert during which the sound of her voice remained active in the mind."<mask> explained that as God worked through her she became more impassioned during a song, and that what she felt was right to do in the moment was what was necessary for the audience. As her career advanced, she found it difficult to adjust to the time constraints in recording and television appearances, saying, "When I sing I don't go by the score. I lose something when I do. I don't want to be told I can sing just so long. I make it 'til that passion is passed. When I become conscious, I can't do it good." Recording

<mask> estimated that she sold 22 million records in her career.Her four singles for Decca and seventy-one for Apollo are widely acclaimed by scholars as defining gospel blues. The earliest are marked by minimal accompaniment with piano and organ. Apollo added acoustic guitar, backup singers, bass, and drums in the 1950s. Her singing is lively, energetic, and emotional, using "a voice in the prime of its power and command", according to author Bob Darden. Although hearing herself on Decca recordings years later prompted <mask> to declare they are "not very good", Viv Broughton calls "Keep Me Every Day" a "gospel masterpiece", and Anthony Heilbut praises its "wonderful artless purity and conviction", saying that in her Decca records, her voice "was at its loveliest, rich and resonant, with little of the vibrato and neo-operatic obbligatos of later years". Likewise, he calls <mask>'s Apollo records "uniformly brilliant", choosing "Even Me", "Just As I Am", "City Called Heaven", and "I Do, Don't You" as perfect examples of her phrasing and


texts: contralto range, having an effect that is "angelic but never saccharine". The New Grove Gospel, Blues, and Jazz cites the Apollo songs "In the Upper Room", "Let the Power of the Holy Ghost Fall on Me", and "I'm Glad Salvation is Free" as prime examples of the "majesty" of <mask>'s voice.According to musicologist Wilfrid Mellers, <mask>'s early recordings demonstrate a "sound that is all-embracing, as secure as the womb, from which singer and listener may be reborn. The breathtaking beauty of the voice and superbly controlled transitions from speech to prayer to song heal and anneal." Columbia Records, then the largest recording company in the U.S., presented <mask> as the "World's Greatest Gospel Singer" in the 28 albums they released. She was marketed to appeal to a wide audience of listeners who, despite all her accomplishments up to 1954, had never heard of her. In contrast to the series of singles from Apollo, Columbia released themed albums that included liner notes and photos. Compared to other artists at Columbia, <mask> was allowed considerable input in what she would record, but Mitch Miller and producer George Avakian persuaded her with varying success to broaden her appeal to listeners of different faiths. Though her early records at Columbia had a similar sound to her Apollo records, the music accompanying <mask> at Columbia later included orchestras, electric guitars, backup singers, and drums, the overall effect of which was more closely associated with light pop music.She was marketed similarly to jazz musicians, but her music at Columbia ultimately defied categorization. Her albums interspersed familiar compositions by Thomas Dorsey and other gospel songwriters with songs considered


texts:
 generally inspirational. These included "You'll Never Walk Alone" written by Rodgers and Hammerstein for the 1945 musical Carousel, "Trees" based on the poem by Joyce Kilmer, "Danny Boy", and the patriotic songs "My Country 'Tis of Thee" and "The Battle Hymn of the Republic", among others. The Cambridge Companion to Blues and Gospel Music describes <mask>'s Columbia recordings as "toned down and polished" compared to the rawer, more minimalist sound at Apollo. Scholar Mark Burford praises "When I Wake Up In Glory" as "one of the crowning achievements of her career as a recording artist", but Heilbut calls her Columbia recordings of "When the Saints Go Marching In" and "The Lord's Prayer", "uneventful material". <mask> agreed somewhat, acknowledging that her sound was being commercialized, calling some of these recordings "sweetened-water stuff". When the themes of her songs were outwardly religious, some critics felt the delivery was at times less lively.John Hammond, who helped secure <mask>'s contract with Columbia, told her if she signed with them many of her black fans would not relate well to the music. This turned out to be true and as a result, <mask> created a distinct performing style for Columbia recordings that was markedly different from her live performances, which remained animated and lively, both in churches and concert halls. Live performance

In live performances, <mask> was renowned for her physicality and the extraordinary emotional connections she held with her audiences. The New York Times stated she was a "massive, stately, even majestic woman, [who] possessed an awesome presence that was apparent in whatever milieu she chose to perform." So caught up in the spirit was she while


texts: singing, she often wept, fell on her knees, bowed, skipped, danced, clapped spontaneously, patted her sides and stomach, and particularly in churches, roamed the aisles to sing directly to individuals. All of these were typical of the services in black churches though <mask>'s energy was remarkable. An experiment wearing a wig with her robes went awry during a show in the 1950s when she sang so frenetically she flung it off mid-performance.Anthony Heilbut writes that "some of her gestures are dramatically jerky, suggesting instant spirit possession", and called her performances "downright terrifying. At her best, Mahalia builds these songs to a frenzy of intensity almost demanding a release in holler and shout. When singing them she may descend to her knees, her combs scattering like so many cast-out demons." <mask> defended her idiosyncrasies, commenting, "How can you sing of amazing grace, how can you sing prayerfully of heaven and earth and all God's wonders without using your hands? My hands, my feet, I throw my whole body to say all that is within me. The mind and the voice by themselves are not sufficient." In line with improvising music, <mask> did not like to prepare what she would sing before concerts, and would often change song preferences based on what she was feeling at the moment, saying, "There's something the public reaches into me for, and there seems to be something in each audience that I can feel.I can feel whether there's a low spirit. Some places I go, up-tempo songs don't go, and other places, sad songs aren't right." She had an uncanny ability to elicit the same emotions from her audiences that she transmitted in her singing. People Today commented that "When Mahalia sings,


texts: audiences do more than just listen—they undergo a profoundly moving emotional experience." <mask> used "house wreckers", or songs that induced long tumultuous moments with audiences weeping, shouting, and moaning, especially in black churches. Gospel singer Evelyn Gaye recalled touring with her in 1938 when <mask> often sang "If You See My Savior Tell Him That You Saw Me", saying, "and the people, look like they were just awed by it, on a higher plane, gone. She had that type of rocking and that holy dance she'd get into—look like the people just submitted to it."White audiences also wept and responded emotionally. According to jazz writer Raymond Horricks, instead of preaching to listeners <mask> spoke about her personal faith and spiritual experiences "immediately and directly... making it difficult for them to turn away". Promoter Joe Bostic was in the audience of the 1958 Newport Jazz Festival, an outdoor concert that occurred during a downpour, and stated, "It was the most fantastic tribute to the hypnotic power of great artistry I have ever encountered. Nothing like it have I ever seen in my life. Those people sat... they forgot... they were completely entranced." A significant part of <mask>'s appeal was her demonstrated earnestness in her religious conviction. Bostic spoke of her abiding faith: "Mahalia never became so sophisticated that she lost her humility, her relationship with God as a divine being.She never got beyond that point; and many times, many times, you were amazed — at least I was, because she was such a tough business woman." During her tour of the Middle East, <mask> stood back in wonder while visiting Jericho, and road manager David Haber asked her if she truly thought trumpets


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 brought down its walls. <mask> replied honestly, "I believe Joshua did pray to God, and the sun stood still. I believe everything." Gospel singer Cleophus Robinson asserted, "There never was any pretense, no sham about her. Wherever you met her it was like receiving a letter from home. She was a warm, carefree personality who gave you the feeling that you could relax and let your hair down whenever you were around her — backstage with her or in her home where she'd cook up some good gumbo for you whenever she had the time.A lot of people tried to make Mahalia act 'proper', and they'd tell her about her diction and such things but she paid them no mind. She never denied her background and she never lost her 'down home' sincerity." Television host Ed Sullivan said, "She was just so darned kind to everybody. When Mahalia sang, she took command. The band, the stage crew, the other performers, the ushers — they were all rooting for her. When she came out, she could be your mother or your sister. I mean, she wasn't obsequious, you know; she was a star among other stars.Other people may not have wanted to be deferential, but they couldn't help it. This woman was just great." Commenting on her personal intimacy, Neil Goodwin of The Daily Express wrote after attending her 1961 concert at the Royal Albert Hall, "<mask> <mask> sang to ME last night." Others wrote of her ability to give listeners goosebumps or make the hair on their neck tingle. Mildred Falls

Until 1946, <mask> used an assortment of pianists for recording and touring, choosing anyone who was convenient and free to go with her. As her career progressed, she found it necessary to have a pianist available at a moment's notice, someone talented enough

masks: Jackson Mahalia Jackson Jackson


texts: to improvise with her yet steeped in religious music. <mask> found this in Mildred Falls (1921—1974), who accompanied her for 25 years.Falls is often acknowledged as a significant part of <mask>'s sound and therefore her success. She was born Mildred Carter in Magnolia, Mississippi, learning to play on her family's upright piano, working with church choirs, and moving to California with a gospel singing group. A broken marriage resulted in her return to Chicago in 1947 when she was referred to <mask> who set up a brief training with Robert Anderson, a longtime member of <mask>'s entourage. Falls  accompanied her in nearly every performance and recording thereafter. Always on the lookout for new material, <mask> received 25 to 30 compositions a month for her consideration. Falls played these so <mask> could "catch the message of the song". Once selections were made, Falls and <mask> memorized each composition though while touring with <mask>, Falls was required to improvise as <mask> never sang a song the same way twice, even from rehearsal to a performance hours or minutes later.Falls found it necessary to watch <mask>'s mannerisms and mouth instead of looking at the piano keys to keep up with her. At the beginning of a song, Falls might start in one key and receive hand signals from <mask> to change until <mask> felt the right key for the song in that moment. Falls remembered, "Mahalia waited until she heard exactly what was in her ear, and once she heard it, she went on about her business and she'd tear the house down." Studs Terkel compared Falls to Paul Ulanowsky and Gerald Moore who played for classical singing stars Lotte Lehmann and Dietrich Fischer-Dieskau, respectively. Ralph Ellison called

masks: Jackson Jackson Jackson Jackson Jackson Jackson Jackson Jackson Jackson Jackson Jackson Jackson


texts:
 Falls and <mask> "the dynamic duo", saying that their performance at the 1958 Newport Jazz Festival created "a rhythmical drive such as is expected of the entire Basie band. It is all joy and exultation and swing, but it is nonetheless religious music." Falls' right hand playing, according to Ellison, substituted for the horns in an orchestra which was in constant "conversation" with <mask>'s vocals.Her left hand provided a "walking bass line that gave the music its 'bounce'", common in stride and ragtime playing. Similarly, television host Dinah Shore called Falls' left hand "the strongest thing in the whole world", giving <mask>'s music a prominent beat usually missing from religious music. When Shore's studio musicians attempted to pinpoint the cause of <mask>'s rousing sound, Shore admonished them with humor, saying, "Mildred's got a left hand, that's what your problem is." Anthony Heilbut explained, "By Chicago choir standards her chordings and tempos were old-fashioned, but they always induced a subtle rock exactly suited to Mahalia's swing." Influence

On music

<mask>'s influence was greatest in black gospel music. Beginning in the 1930s, Sallie Martin, Roberta Martin, Willie Mae Ford Smith, Artelia Hutchins, and <mask> spread the gospel blues style by performing in churches around the U.S. For 15 years the genre developed in relative isolation with choirs and soloists performing in a circuit of churches, revivals, and National Baptist Convention (NBC) meetings where music was shared and sold among musicians, songwriters, and ministers. The NBC boasted a membership of four million, a network that provided the source material that <mask> learned in her early years and from which she drew during


texts: her recording career.Though <mask> was not the first gospel blues soloist to record, historian Robert Marovich identifies her success with "Move On Up a Little Higher" as the event that launched gospel music from a niche movement in Chicago churches to a genre that became commercially viable nationwide. The "Golden Age of Gospel", occurring between 1945 and 1965, presented dozens of gospel music acts on radio, records, and in concerts in secular venues. <mask>'s success was recognized by the NBC when she was named its official soloist, and uniquely, she was bestowed universal respect in a field of very competitive and sometimes territorial musicians. Marovich explains that she "was the living embodiment of gospel music's ecumenism and was welcomed everywhere". The Cambridge Companion to Blues and Gospel Music identifies <mask> and Sam Cooke, whose music career started when he joined the Soul Stirrers, as the most important figures in black gospel music in the 1950s. To the majority of new fans, however, "Mahalia was the vocal, physical, spiritual symbol of gospel music", according to Heilbut. Raymond Horricks writes, "People who hold different religious beliefs to her own, and even people who have no religious beliefs whatsoever, are impressed by and give their immediate attention to her singing.She has, almost singlehandedly, brought about a wide, and often non-religious interest in the gospel singing of the Negro." Because she was often asked by white jazz and blues fans to define what she sang, she became gospel's most prominent defender, saying, "Blues are the songs of despair. Gospel songs are the songs of hope. When you sing gospel you have a feeling there's a cure for what's wrong. When you're