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LataraSpeaksTruth

Lucille Hegamin was one of the earliest Black women to leave a lasting mark on recorded American music, though her name is rarely mentioned today. Born on November 29, 1894, in Macon, Georgia, as Lucille Nelson, she grew up during a time when opportunities for Black women in entertainment were sharply limited. Her musical foundation was shaped through church choirs and stage performance long before recording studios opened their doors to Black artists. Known professionally as Lucille Hegamin, she earned the nickname “The Georgia Peach,” a reference to both her Southern roots and her polished stage presence. In 1920, during the earliest wave of commercial blues recording, she recorded “Arkansas Blues.” This placed her among the first generation of women to record blues at a time when the genre itself was still taking shape. Hegamin was also known as “The Cameo Girl” due to her extensive work with the Cameo record label. Her recordings blended blues, vaudeville, and popular song traditions, reflecting the musical crossroads of the era. These records were distributed nationally and helped introduce Black female voices to early commercial recording audiences. Despite her success, Hegamin faced the same structural barriers as many early Black performers. Financial control was limited, royalties were minimal, and recognition often faded as recording trends shifted. When the early blues recording boom slowed, she stepped away from the spotlight. Lucille Hegamin died in 1970, but her recordings remain a foundational part of American music history. #ForTheRecord #MusicHistory #EarlyBlues #WomenInMusic #AmericanCulture #RecordedHistory #HiddenFigures

LataraSpeaksTruth

At the beginning of the year, large slave auctions routinely took place in New Orleans as part of a deliberate financial process. Plantation account books closed at the end of December, and debts were reconciled immediately afterward. When numbers did not balance, enslaved people were sold to settle them. Human lives were used to correct ledgers. Early January became one of the most active periods in the domestic slave trade because it aligned with plantation finance cycles. Men, women, and children were sold not based on family ties, age, or circumstance, but on how effectively their sale could stabilize accounts and reset labor forces for the year ahead. Profit determined separation. These sales were strategic. Buyers sought labor before the planting season. Sellers cleared obligations before interest and penalties compounded. Families were broken apart at the same moment society spoke of renewal and fresh starts. For those placed on the auction block, the new year did not bring opportunity. It brought loss. New Orleans sat at the center of this system. Its auction houses, banks, shipping routes, and legal structures openly connected finance and bondage. These were not hidden abuses or rare events. Auctions were scheduled, advertised, attended, and recorded. Violence did not always arrive through chaos. Sometimes it arrived through paperwork. This pattern reveals how deeply slavery was embedded in American economic rhythms. The domestic slave trade operated through calendars, deadlines, and bookkeeping as much as force. The beginning of the year became a moment when profit quietly dictated human fate. History often frames beginnings with hope. For many enslaved people, the start of the year marked separation, instability, and the loss of control over their own lives. That contrast matters. Because slavery was not only a moral crime. It was a financial system. #ForTheRecord #HiddenHistory #DomesticSlaveTrade #AmericanSlavery #NewOrleansHistory

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