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Farewell—We’re Good and Gone: The Great Black Migration

Farewell—We’re Good and Gone: The Great Black Migration Boole lerieM 9 J has not examined such "interior" subjects as black musical or re­ ligious expressions, his book nonetheless sublimely examines de­ tails of the "lynching era" in one of the most race-haunted of south­ ern regions wherein the blues, blues life, and blues theology evolved. By the time McMillen completes his retelling of the "black story," the theomusicologist fully understands why some black people sang the blues and why that singing is so profoundly religious. When the blues singer sings "Jim Crow Blues," theomusicology recognizes that it is not profane. In the context of the "dark journey," and in com­ parison to the profane "white terrorism," the blues is sacred, as sacred as Mississippi's black diaspora of the Great Black Migration: I'm tired of this Jim Crow, gonna leave this Jim Crow town, Doggone my black soul, I'm sweet Chicago bound, Yes, I'm leaving here, from this old Jim Crow town. (264) Marks, Carole. Farewell-We're Good and Gone: The Great Black Migration. Bloom­ ington: Indiana University Press, 1989. The concern of Carole Marks's book is the conditions that led to the dispersal of over one million blacks from the southern states northward between approximately 1916 and 1930 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

Farewell—We’re Good and Gone: The Great Black Migration

Marks, Carole
Black Sacred Music , Volume 4 (2) – Sep 1, 1990
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Copyright
Copyright © 1990 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-4.2.91
Publisher site
See Article on Publisher Site

Abstract

Boole lerieM 9 J has not examined such "interior" subjects as black musical or re­ ligious expressions, his book nonetheless sublimely examines de­ tails of the "lynching era" in one of the most race-haunted of south­ ern regions wherein the blues, blues life, and blues theology evolved. By the time McMillen completes his retelling of the "black story," the theomusicologist fully understands why some black people sang the blues and why that singing is so profoundly religious. When the blues singer sings "Jim Crow Blues," theomusicology recognizes that it is not profane. In the context of the "dark journey," and in com­ parison to the profane "white terrorism," the blues is sacred, as sacred as Mississippi's black diaspora of the Great Black Migration: I'm tired of this Jim Crow, gonna leave this Jim Crow town, Doggone my black soul, I'm sweet Chicago bound, Yes, I'm leaving here, from this old Jim Crow town. (264) Marks, Carole. Farewell-We're Good and Gone: The Great Black Migration. Bloom­ ington: Indiana University Press, 1989. The concern of Carole Marks's book is the conditions that led to the dispersal of over one million blacks from the southern states northward between approximately 1916 and 1930

Journal

Black Sacred Music – Duke University Press

Published: Sep 1, 1990

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