Whitey Ford
06-11-2019, 08:16 AM
They Introduced the World to Songs of Slavery. It Almost Broke Them.
The Jubilee Singers were a global sensation. But an aggressive touring schedule would leave the young performers exhausted, underpaid, and in some cases, dead.
(https://www.topic.com/they-introduced-the-world-to-songs-of-slavery-it-almost-broke-them)
Alright, alright I've read my fair share of crackpot conspiracy theory and historical revisionism, but this is a cake taker.
First, Harriet Tubman used 'map songs' to tell nigger show how to escape Whitey.
The song “Wade in the Water,” for example, contained lyrics that, folklore holds, delivered coded advice for escapees by describing a strategy for evading pursuing, scent-hungry bloodhounds. (Harriet Tubman would rely on “map songs” as a method of giving directions to African Americans fleeing north.)
Whitey made niggers sing to make them not show remorse for splitting up famblies LOL. And to make them more appealing to slave buyers.
enslaved people were regularly expected to perform on demand and in public by slave traders, who wished for them to appear carefree and cheerful to potential buyers; in his autobiography, one formerly enslaved man, the pastor and abolitionist John Sella Martin, recalled that his traders made slaves sing to “prevent any expression of sorrow for those who are being torn away from them.”
And, finally, once freed, dindus were used by greedy Whitey for their talents. Often to the point of exhaustion to fill greeeedy Whitey's pockets.
The story of the Jubilee Singers—who, less than a decade before their appearance at Plymouth Church, had been transported from slavery to emancipation to higher education and to fame—thrilled audiences, first in America and eventually in Europe. But it was the Singers’ white producers—the abolitionists and educators who encouraged them to perform these songs for the public, and eventually the tour managers who would underpay and overwork them—who developed their act and controlled their image, foreshadowing the familiar story of recording-industry exploitation that later affected the careers and fortunes of black musicians in the United States, to often devastating effect.
5:00 in the morning, just woke up, and I've already reached peak clownworld for the day. honk honk.
https://i.imgur.com/XLxVH7A.gif
The Jubilee Singers were a global sensation. But an aggressive touring schedule would leave the young performers exhausted, underpaid, and in some cases, dead.
(https://www.topic.com/they-introduced-the-world-to-songs-of-slavery-it-almost-broke-them)
Alright, alright I've read my fair share of crackpot conspiracy theory and historical revisionism, but this is a cake taker.
First, Harriet Tubman used 'map songs' to tell nigger show how to escape Whitey.
The song “Wade in the Water,” for example, contained lyrics that, folklore holds, delivered coded advice for escapees by describing a strategy for evading pursuing, scent-hungry bloodhounds. (Harriet Tubman would rely on “map songs” as a method of giving directions to African Americans fleeing north.)
Whitey made niggers sing to make them not show remorse for splitting up famblies LOL. And to make them more appealing to slave buyers.
enslaved people were regularly expected to perform on demand and in public by slave traders, who wished for them to appear carefree and cheerful to potential buyers; in his autobiography, one formerly enslaved man, the pastor and abolitionist John Sella Martin, recalled that his traders made slaves sing to “prevent any expression of sorrow for those who are being torn away from them.”
And, finally, once freed, dindus were used by greedy Whitey for their talents. Often to the point of exhaustion to fill greeeedy Whitey's pockets.
The story of the Jubilee Singers—who, less than a decade before their appearance at Plymouth Church, had been transported from slavery to emancipation to higher education and to fame—thrilled audiences, first in America and eventually in Europe. But it was the Singers’ white producers—the abolitionists and educators who encouraged them to perform these songs for the public, and eventually the tour managers who would underpay and overwork them—who developed their act and controlled their image, foreshadowing the familiar story of recording-industry exploitation that later affected the careers and fortunes of black musicians in the United States, to often devastating effect.
5:00 in the morning, just woke up, and I've already reached peak clownworld for the day. honk honk.
https://i.imgur.com/XLxVH7A.gif