Jubilee Singers: Sacrifice and Glory

DAVID MCCULLOUGH , Series Host: Hello and welcome to The American Experience.

系列主持人戴维·麦卡洛 (DAVID MCCULLOUGH)：您好，欢迎来到《美国体验》。

I'm David McCullough.

我是大卫·麦卡洛。

Courage is a powerful, old theme in the story of America...

勇气是美国故事中一个强大而古老的主题……

the courage to cross great oceans for the chance of a better life...

为了更好的生活而跨越海洋的勇气......

the courage to defy tyranny...

反抗暴政的勇气...

or to stand up for one's convictions...

或者坚持自己的信念...

Our film is about nine very courageous and gifted young Americans who in 1871, six years after the Civil War, set off from Nashville, Tennessee, not to cross the Rockies or sail round the Horn, but to save a failing university that meant everything to them.

我们的电影讲述了九位非常勇敢和有天赋的美国年轻人的故事，他们于 1871 年，即南北战争结束六年后，从田纳西州纳什维尔出发，不是为了穿越落基山脉或绕过非洲之角，而是为了拯救一所对他们来说意味着一切的失败大学。

They were the Jubilee Singers from Fisk University heading north on a first tour.

他们是菲斯克大学的 Jubilee Singers 首次北上巡演。

All but two were former slaves, several were still in their teens.

除两人外，其他人都曾经是奴隶，有几个人还只有十几岁。

They had no money, no reputation, no experience performing on the road, and the ridicule and menace they faced, because of their color, were all too real in a land where, by then, everybody supposedly had equal rights.

他们没有金钱，没有名誉，没有在公路上表演的经验，他们因肤色而面临的嘲笑和威胁，在当时每个人都享有平等权利的土地上是真实存在的。

Their strength was in their faith -- faith in God, faith in education, and in the transcendent spirit in the old songs they sang, "cabin songs," from slave times.

他们的力量在于他们的信仰——对上帝的信仰，对教育的信仰，以及他们所唱的奴隶时代老歌“小屋歌曲”中的超然精神。

"Swing Low Sweet Chariot," "Steal Away," "Were You There When They Crucified My Lord." The Jubilee Singers were the first to perform these songs before white audiences.

“摇摆低甜战车”、“偷走”、“当他们钉死我的主时你在场吗？” Jubilee Singers 是第一个在白人观众面前表演这些歌曲的人。

It was music to touch the hearts and souls of all men and women everywhere.

这是一种触动世界各地所有男人和女人心灵的音乐。

And there would come the moment at historic Plymouth Church in Brooklyn, when suddenly the power of their message became evident as never before.

在布鲁克林历史悠久的普利茅斯教堂，他们所传达的信息的力量突然变得前所未有的明显。

Jubilee Singers: Sacrifice and Glory by producer Llewellyn Smith and co-written by Andrew Ward.

《Jubilee Singers: Sacrifice and Glory》由卢埃林·史密斯制作，安德鲁·沃德联合编剧。

Ella Sheppard Song: "Swing Low Sweet Chariot" NARRATOR: Ella would fulfill the prophecy in a way Sarah never imagined -- through Sarah’s own songs of sorrow and redemption.

艾拉·谢泼德之歌：“摇摆低低的甜蜜战车”旁白：艾拉将以莎拉从未想象过的方式实现预言——通过莎拉自己的悲伤和救赎之歌。

One day Ella would perform them in palaces, cathedrals, and concert halls with a choir of emancipated slaves.

有一天，艾拉会在宫殿、大教堂和音乐厅与一群被解放的奴隶一起表演这些歌曲。

And build a great university out of the sacred songs of Jubilee.

用禧年的神圣歌曲建造一所伟大的大学。

Ella Sheppard’s father purchased her out of bondage and fled with her to Ohio, where she learned to read and write, and play the piano.

艾拉·谢泼德 (Ella Sheppard) 的父亲将她从束缚中解救出来，并与她一起逃到俄亥俄州，在那里她学会了读书、写字和弹钢琴。

At end of the Civil War, she returned to Tennessee.

内战结束后，她回到田纳西州。

Determined to become a teacher, she enrolled at a struggling school for freed blacks in Nashville, named Fisk University.

她决心成为一名教师，就读于纳什维尔一所为获得自由的黑人而苦苦挣扎的学校，名为菲斯克大学。

Fisk was a university in name only: a freedman's school, established in an abandoned army hospital barracks.

菲斯克只是一所名义上的大学：一所自由民学校，建立在废弃的陆军医院军营中。

Fisk was dedicated to training men and women like Ella to educate African Americans across the South.

菲斯克致力于培训像艾拉这样的男女来教育整个南方的非裔美国人。

The school was run by the American Missionary Association, called the A.M.A.

这所学校由美国传教士协会 (A.M.A.) 运营。

Fisk’s treasurer was a zealous missionary from New York named George Leonard White: a Union veteran of Gettysburg and Chancellorsville.

菲斯克的财务主管是一位来自纽约的热心传教士，名叫乔治·伦纳德·怀特（George Leonard White），他是葛底斯堡和钱斯劳维尔的联邦退伍军人。

White's job was to keep Fisk afloat.

怀特的工作是让菲斯克维持下去。

But he had been a choir master and a band sergeant, and his true passion was music.

但他曾经是一名合唱团指挥和乐队中士，他真正的热情是音乐。

Entranced by the beautiful voices of the young former slaves who studied at the school, he began to assemble the most gifted into a chorus.

他被在学校学习的年轻前奴隶们优美的声音所吸引，开始召集最有天赋的人组成合唱团。

Ella Sheppard NARRATOR: In Ella Sheppard, George White recognized someone whose passion for music matched his own.

艾拉·谢泼德 (Ella Sheppard) 旁白：乔治·怀特 (George White) 在艾拉·谢泼德 (Ella Sheppard) 身上认出了一个对音乐的热情与他不相上下的人。

White appointed Sheppard assistant choir director, making her, at age 18, the school's first black instructor.

怀特任命谢泼德为合唱团副指挥，使 18 岁的她成为学校第一位黑人教练。

Together, White and Sheppard rehearsed the student chorus in popular songs of the day, and musical pageants like the "Cantata of Esther." But White was most entranced by the mysterious, moving songs that Ella Sheppard and the students sang for themselves.

怀特和谢泼德一起排练了学生合唱团当时的流行歌曲以及《以斯帖颂》等音乐盛会。但怀特最着迷的是艾拉谢泼德和学生们为自己演唱的神秘动人的歌曲。

They were called cabin songs, plantation melodies, spirituals and Jubilees: folk hymns composed by slaves for worship and solace.

它们被称为小屋歌曲、种植园旋律、圣歌和禧年曲：奴隶为崇拜和安慰而创作的民间赞美诗。

HORACE BOYER, Musicologist: You start singing a song, and when you’re singing it first, according to the slaves, you’re just singing the words.

音乐学家霍勒斯·博耶（HORACE BOYER）：你开始唱一首歌，根据奴隶们的说法，当你第一次唱这首歌时，你只是在唱歌词。

But after a while, its almost like therapy.

但过了一段时间，这几乎就像治疗一样。

It begins to take the frown out of the face.

脸上的皱眉开始消失。

The shoulders begin to come back to their natural position, what’s happening is you’re going through a cleansing process.

肩膀开始回到自然位置，发生的事情是您正在经历一个清洁过程。

These people were not readers.

这些人不是读者。

They were not writers.

他们不是作家。

They had to sing songs with a few words, that they could learn once, carry on forever, that everybody could sing at the same time.

他们必须唱一些歌词的歌曲，这样他们可以学一次，永远继续下去，这样每个人都可以同时唱。

So your going to find spirituals that will say, "Swing low, sweet chariot, coming for to carry me home.

所以你会发现灵歌会说：“低下，甜蜜的战车，来接我回家。

Swing low sweet chariot, coming for to carry me home." Just a few words which are going to be sung over and over.

摇低甜蜜的战车，来接我回家了。”只是几个词，将被一遍又一遍地唱。

NARRATOR: But education, not music, was the purpose of schools like Fisk University.

旁白：但是像菲斯克大学这样的学校的目的是教育，而不是音乐。

Under slavery, reading and writing had been forbidden, punishable by whipping, imprisonment or worse.

在奴隶制下，阅读和写作是被禁止的，违者将受到鞭打、监禁或更严重的惩罚。

With emancipation, waves of freedmen descended on any school they could find, desperate to learn how to count their new wages, write the new names they had chosen themselves, read the ballot and the Bible.

随着解放的到来，一波又一波的自由民涌向他们能找到的任何学校，迫切地想学习如何计算他们的新工资，写下他们自己选择的新名字，阅读选票和圣经。

When Fisk opened its doors in January of 1866, hundreds of former slaves crowded into day school and night classes at the school's barracks.

当菲斯克学校于 1866 年 1 月开业时，数百名前奴隶涌入学校军营的日间学校和夜校。

But the school was continually on the verge of financial collapse.

但学校一直处于财务崩溃的边缘。

By 1868, it couldn’t pay its creditors, or even its teachers.

到 1868 年，它无力偿还债权人，甚至无力偿还老师的债务。

One instructor apologized for asking for her back pay; but it was cold, she said, and she had no shoes.

一位教练因要求她拖欠工资而道歉；但她说，天气很冷，而且她没有鞋子。

Tuition was twelve dollars a year at a time when farm laborers earned as little as eight dollars a month.

学费是每年十二美元，而农场工人的月收入只有八美元。

As treasurer, George White put up his own savings to keep the school afloat.

作为财务主管，乔治·怀特拿出自己的积蓄来维持学校的运转。

To collect unpaid tuitions, he wrote letter after letter to already hard-pressed parents.

为了收取未付的学费，他写了一封又一封信给已经陷入困境的父母。

Rachel Ferguson NARRATOR: When students uncovered rusty chains from an abandoned slave pen, White sold the chains for scrap iron to buy Bibles and spellers.

雷切尔·弗格森旁白：当学生们从废弃的奴隶围栏中发现生锈的铁链时，怀特将铁链卖成了废铁，用来购买圣经和拼写器。

To raise more money, White led his choir to neighboring towns to sing for donations, despite the dangers.

为了筹集更多资金，怀特不顾危险，带领他的唱诗班前往邻近城镇唱歌募捐。

JOHN HOPE FRANKLIN, Historian: There was no lacking of opposition to the establishment and maintenance of schools for the freedmen.

约翰·霍普·富兰克林，历史学家：对于为自由民建立和维持学校的反对声音不绝于耳。

People who had subscribed to the view that (1) blacks were inferior, they were childlike, they were irresponsible, could not believe that energy and resources should be expended on the training of people who could not absorb the training anyway.

那些认同以下观点的人：（1）黑人低劣，他们幼稚，他们不负责任，他们不相信应该将精力和资源花费在培训那些无论如何都无法吸收培训的人上。

After all there's talk about their becoming voters and full citizens, especially in 1866 and 1867.

毕竟，人们都在谈论他们成为选民和正式公民，尤其是在 1866 年和 1867 年。

And you've got to put a stop to this.

你必须阻止这一切。

NARRATOR: Nightriders like the Ku Klux Klan assaulted and whipped Fisk students for teaching in the countryside.

旁白：像三K党这样的夜行者袭击并鞭打在乡村教书的菲斯克学生。

A young choir member, Benjamin Holmes, was shot at in his classroom.

一名年轻的合唱团成员本杰明·霍姆斯在教室里遭到枪击。

And soprano Maggie Porter returned one New Year's to find that local whites had celebrated the holidays by burning her school to the ground.

女高音玛吉·波特在新年回来时发现当地白人把她的学校夷为平地来庆祝节日。

Song: "Were You There?" NARRATOR: One evening White and his singers found themselves stranded at a railway depot in a small town and surrounded by a jeering mob.

歌曲：《你在吗？》旁白：一天晚上，怀特和他的歌手们发现自己被困在一个小镇的一个火车站，周围是一群嘲笑的暴民。

Ella Sheppard DEACON SAM MCCLAIN: "In Times Like These." NARRATOR: By 1871, Fisk's barracks were rotting away.

艾拉·谢泼德执事山姆·麦克莱恩：“在这样的时代。”旁白：到 1871 年，菲斯克的营房已经腐烂。

Ella Sheppard NARRATOR: That fall George White seized on a daring plan.

艾拉·谢泼德 (Ella Sheppard) 旁白：那年秋天，乔治·怀特 (George White) 采取了一项大胆的计划。

He proposed to take his singers on a fund raising tour of the North.

他提议带他的歌手去北方进行筹款巡演。

White believed his young students were convincing proof of what higher education could do for the freedmen.

怀特相信他的年轻学生令人信服地证明了高等教育可以为自由民带来什么。

By October, White and Ella Sheppard had assembled and rehearsed their best singers.

到十月，怀特和艾拉谢泼德已经召集并排练了他们最好的歌手。

All but two had been slaves.

除了两人之外，所有人都曾是奴隶。

Tenor Thomas Rutling, a former house slave was almost expelled from Fisk for passing notes to female students.

男高音托马斯·鲁特林曾是一名家奴，因为向女学生传递纸条，差点被菲斯克开除。

One newspaper deemed him the best tenor in Tennessee.

一家报纸认为他是田纳西州最好的男高音。

Benjamin Holmes, 23, survived his semester of countryside teaching.

23 岁的本杰明·霍姆斯 (Benjamin Holmes) 在乡村教学中度过了一个学期。

As a slave he'd secretly taught himself to read and was now a deacon of Fisk’s chapel.

作为一名奴隶，他秘密地自学读书，现在是菲斯克教堂的执事。

Like Holmes, 18-year-old Maggie Porter had continued to teach in country schools, uncowed by threats and arson.

和福尔摩斯一样，18 岁的玛吉·波特继续在乡村学校教书，没有被威胁和纵火吓倒。

Twenty-one-year-old baritone Isaac Dickerson had been a Confederate colonel's valet in the war.

二十一岁的男中音艾萨克·迪克森在战争中曾是南方联盟上校的贴身男仆。

Soprano Jennie Jackson, age 19, was a granddaughter of President Andrew Jackson’s body servant.

女高音珍妮·杰克逊 (Jennie Jackson)，19 岁，是总统安德鲁·杰克逊 (Andrew Jackson) 贴身仆人的孙女。

Youngest of the nine singers was 14-year-old contralto, Minnie Tate, who as a free girl had been taken in by German settlers.

九位歌手中最年轻的是 14 岁的女低音歌手米妮·塔特 (Minnie Tate)，她作为一名自由女孩被德国定居者收留。

The parents of White's singers were afraid to let their children go.

怀特歌手的父母不敢让他们的孩子离开。

Fearing ridicule, even disgrace, his fellow teachers opposed the tour.

由于担心受到嘲笑，甚至耻辱，他的老师同事们反对这次旅行。

And the American Missionary Association refused to help.

美国传教士协会拒绝提供帮助。

TONI ANDERSON, Music Historian: George White wanted to target mainly white Christian audience.

托尼·安德森（TONI ANDERSON），音乐史学家：乔治·怀特希望主要针对白人基督徒听众。

And generally the audiences he was going to be searching for were the same audiences the A.M.A.

一般来说，他要寻找的观众就是 A.M.A. 的观众。

already appealed to support.

已经呼吁支持。

But there's even more to it than that.

但还有更多的事情要做。

Black singers did not appear on stage during this era, except in the minstrel show.

黑人歌手在这个时代没有出现在舞台上，除了吟游诗人的表演。

And the minstrel show was a very stereotypical and derogatory image of African Americans.

吟游诗人的表演是非裔美国人的一个非常刻板和贬义的形象。

Good upstanding Christian people did not go to these kinds of entertainments.

正直的基督徒不会去参加这些娱乐活动。

NARRATOR: Many freedman schools had already been crushed by debt and violence.

旁白：许多自由人学校已经因债务和暴力而崩溃。

White was convinced that he and his singers had been chosen by God to save Fisk.

怀特确信他和他的歌手是上帝选择来拯救菲斯克的。

"Tis time to root, hog, or die," he wired the A.M.A.

“是时候扎根、掠夺或死亡了，”他给 A.M.A. 发了电报。

"I’m depending on God, not you." With the last $40 of the school's treasury in his pocket, White took his singers on the road.

“我依靠的是上帝，而不是你。”怀特揣着学校金库里最后的40美元，带着他的歌手们上路了。

Ella Sheppard DEACON SAM MCCLAIN: Oh, if I got my ticket, can I ride?

Ella Sheppard 执事 SAM MCCLAIN：哦，如果我拿到票，我可以乘坐吗？

Oh, if I got my ticket, can I ride?

哦，如果我拿到票了，我可以乘车吗？

Tell me, if I got my ticket, can I ride, Ride away to Heaven in the morning...

告诉我，如果我拿到了票，我可以骑车，早上骑车去天堂......

NARRATOR: White's plan was to lead his singers North to perform along the old Underground Railway, starting in Cincinnati and following the network of abolitionist homes and churches that had once relayed escaped slaves to Canada.

旁白：怀特的计划是带领他的歌手沿着旧的地下铁路向北演出，从辛辛那提开始，沿着曾经将逃亡奴隶转送到加拿大的废奴主义者家庭和教堂网络前进。

For their repertoire, White chose European classical and popular songs, some composed by himself.

怀特选择了欧洲古典和流行歌曲作为他们的曲目，其中一些是他自己创作的。

At their debut in Cincinnati, the audience received them warmly enough, but donated less than fifty dollars.

他们在辛辛那提的首演受到了观众的热烈欢迎，但捐款却不足五十美元。

The next day news reached the singers of the great fire in Chicago.

第二天，芝加哥大火的歌手们收到了消息。

They gave all their money to the relief fund, and left town empty handed.

他们把所有的钱都捐给了救济基金，然后空手而归。

Night after night, it was the same story: Crowds loved their singing, but the collection plate said it all: $50 or $60, barely enough to cover their expenses.

夜复一夜，都是同样的故事：人们喜欢他们的歌声，但募捐牌说明了一切：50 或 60 美元，勉强够支付他们的费用。

KATHERINE PRESTON, Music Historian: You were staying in flophouses or in boarding houses.

凯瑟琳·普雷斯顿，音乐史学家：你住在廉价旅馆或寄宿处。

You could get your meals there.

你可以在那里吃饭。

The meals were nothing to write home about.

饭菜没什么值得大书特书的。

The rooms were generally dirty.

房间普遍很脏。

They were not well kept.

它们保存得不好。

The vaudevillians of this period refer to them as "don't look under the bed rooms." There was probably bugs in the beds.

这一时期的杂耍演员将其称为“不要看卧室下面”。床上可能有虫子。

There were probably rats around.

周围可能有老鼠。

There were always signs in the railroad stations saying, "Nigger read and run"and sometimes there'd be below the sign scratched on, "And if you can't read, run anyway." NARRATOR: But no one turned back.

火车站里总有标语写着“黑鬼读书就跑”，有时标牌下面会写着“如果你不识字，就跑吧”。旁白：但是没有人回头。

"All we wanted," recalled soprano Maggie Porter, "was for Fisk to stand." BOYER: If the singers don't bring back some money the school is going to fold.

“我们只想让菲斯克站起来，”女高音玛吉·波特回忆道。博耶：如果歌手们不带回一些钱，学校就会倒闭。

And so that the singers were having to sing at every opportunity.

因此歌手们必须抓住每一个机会唱歌。

Sometimes they would sing in churches.

有时他们会在教堂里唱歌。

They would sing for private parties.

他们会为私人聚会唱歌。

They would sing for teas.

他们会唱歌喝茶。

Sometimes they would ask them to stand on a busy thoroughfare.

有时他们会要求他们站在繁忙的大道上。

Ella Sheppard NARRATOR: The grueling logistics of the failing tour were George White's burden.

艾拉·谢泼德旁白：这次失败的巡演的繁重后勤工作是乔治·怀特的负担。

ANDERSON: Many times he would have to leave Ella Sheppard with the students, with the rest of the singers to get ready for the next concert, while he went ahead to the next city.

安德森：很多时候，他不得不把埃拉·谢泼德（Ella Sheppard）留给学生们，和其他歌手一起为下一场音乐会做准备，而他则前往下一个城市。

There he would have to secure a hall, talk with all of the ministers in the area to try to drum up support, build an audience, advertise he would have to leave the students at the station because no hotel would take them in, and go up and down the streets, knocking on doors to try to find Christian people who would house the singers overnight.

在那里，他必须确保一个大厅，与该地区所有的牧师交谈，试图争取支持，吸引观众，宣传他必须把学生留在车站，因为没有酒店会收留他们，然后在街道上走来走去，挨家挨户地寻找基督徒，为歌手提供过夜住宿。

Benjamin Holmes Song: "You may bury me in the East...I'll hear the trumpet sound." NARRATOR: Week after week, performing with little rest, White and the singers endured rheumatism, coughing fits, bronchitis,.

本杰明·霍姆斯之歌：“你可以把我埋在东方……我会听到喇叭声。”旁白：一周又一周，几乎没有休息的表演，怀特和歌手们忍受着风湿病、咳嗽、支气管炎。

Their clothes ran to rags.

他们的衣服破烂不堪。

Sickly Ella Sheppard begged White to send her home.

体弱多病的埃拉谢泼德恳求怀特送她回家。

But White refused.

但白拒绝了。

He had begun to experiment with the singers’ repertoire, and now needed Sheppard more than ever.

他已经开始尝试歌手的曲目，现在比以往任何时候都更需要谢泼德。

ANDERSON: Initially they would have maybe seventeen numbers that were quote white man's music, and they would include some spirituals often as encores.

安德森：最初，他们可能会有十七首引用白人音乐的歌曲，并且通常会包含一些圣歌作为加演。

But when they saw how those spirituals were received, they began to include more and more spirituals.

但当他们看到这些灵歌是如何被接受时，他们开始纳入越来越多的灵歌。

They arranged them while they are on tour.

他们在巡演时安排了这些。

And that responsibility fell to Ella Sheppard.

这个责任落到了埃拉·谢泼德身上。

So here's Ella Sheppard, drilling the singers, arranging new melodies, teaching them, practicing the spirituals, all during the time they're concertizing, night after night after night.

艾拉·谢泼德 (Ella Sheppard) 正在训练歌手，编排新旋律，教导他们，练习圣歌，所有这一切都在他们举行音乐会的时间里，夜复一夜。

It's incredible.

太不可思议了。

Ella Sheppard NARRATOR: On the 16th of November, the weary singers arrived at Oberlin College in Ohio, to sing before a national convention of influential ministers.

艾拉·谢泼德 (Ella Sheppard) 旁白：11 月 16 日，疲惫不堪的歌手们抵达俄亥俄州奥柏林学院 (Oberlin College)，在全国有影响力的部长大会上唱歌。

This time, they reached past cantatas and ballads, back to the secret music they'd sung behind closed doors: the sacred songs of their mothers and fathers.

这一次，他们超越了康塔塔和民谣，回到了他们关起门来唱的秘密音乐：他们父母的神圣歌曲。

Fisk Jubilee Singers’ rendition of "Steal Away." BOYER: They started singing " Steal Away." And all of a sudden there was no talking.

菲斯克·朱比利歌手 (Fisk Jubilee Singers) 演绎的《Steal Away》。博耶：他们开始唱“偷走”。突然间就没有人说话了。

And then they said that you could hear soft weeping and the faces of the people reddened.

然后他们说你可以听到轻柔的哭泣声，人们的脸都变红了。

And I'm sure that the Jubilee singers were joining them in tears, because sometimes when you think about what you are singing, particularly if you believe it, you can't help but be moved.

我确信 Jubilee 歌手们也会和他们一起流泪，因为有时当你想到自己所唱的内容时，特别是如果你相信它，你会情不自禁地感动。

NARRATOR: After their small triumph at Oberlin, word spread from congregation to congregation.

旁白：他们在奥柏林取得了小小的胜利之后，消息就从会众传到了会众。

Letters and telegrams flew ahead of them, urging other small town churches to open their doors.

信件和电报飞来飞去，敦促其他小镇教堂敞开大门。

Yet the singers still needed a name.

然而歌手们仍然需要一个名字。

After a night of prayer, George White had an inspiration.

经过一夜的祈祷，乔治·怀特得到了灵感。

"Children," he told the troop, " it shall be -- Jubilee Singers." ANDERSON: The name was taken from Chapter 25 of Leviticus, from the Bible, after the Jewish year of Jubilee.

“孩子们，”他告诉大家，“这将是——银禧歌手”。安德森：这个名字取自圣经《利未记》第 25 章，在犹太禧年之后。

The Jewish Year of the Jubilee occurred every fiftieth year, and in the year of Jubilee were provisions for debt relief, provisions for redemption of property and for emancipation of slavery.

犹太禧年每五十年举行一次，在禧年有债务减免、财产赎回和解放奴隶制的规定。

NARRATOR: That winter White rushed to add more spirituals to the repertoire.

旁白：那年冬天，怀特急忙在剧目中添加更多的圣歌。

Jennie Jackson brought him "I’ll Hear the Trumpet Sound." Ella Sheppard taught White her mother’s favorite lullaby, "Swing Low Sweet Chariot." When the Fisk students reached New York in December, it was make or break.

珍妮·杰克逊给他带来了《我会听到喇叭声》。艾拉谢泼德教怀特她母亲最喜欢的摇篮曲“摇摆低甜战车”。当菲斯克学生于 12 月抵达纽约时，事情已经决定成败。

Three days before Christmas, Henry Ward Beecher, the most famous preacher in America, had invited them to sing at his weekly prayer meeting.

圣诞节前三天，美国最著名的传教士亨利·沃德·比彻邀请他们在他每周的祈祷会上唱歌。

Beecher’s Plymouth Church in Brooklyn included some of America’s richest and most influential families.

布鲁克林比彻的普利茅斯教堂包括一些美国最富有和最有影响力的家庭。

If the singers failed here, they wouldn't even have enough money to get back to Nashville.

如果歌手们在这里失败了，他们甚至没有足够的钱回到纳什维尔。

Song: "Rockin' Jerusalem?"

歌曲：“摇滚耶路撒冷？”

Reading: Henry Ward Beecher was on his feet, and with his hands in his pockets he brought out five dollars and told everybody to follow suit.

阅读：亨利·沃德·比彻站了起来，双手插在口袋里，拿出五美元，告诉大家也跟着学。

That was our start.

那是我们的开始。

Every church wanted the Jubilee Singers to sing for them ...from that time on..."Maggie Porter NARRATOR: Even the American Missionary Association dropped its opposition and scrambled to get on board.

每个教堂都希望银禧歌手为他们唱歌……从那时起……”玛吉·波特旁白：就连美国传教士协会也放弃了反对，争相加入。

It would now take five of their agents, full-time, to accomplish what White and Sheppard had been doing on their own.

现在需要他们的五名全职代理人才能完成怀特和谢泼德自己所做的事情。

Touring Connecticut they brought in a phenomenal $1200 a week.

他们在康涅狄格州巡回演出，每周收入高达 1200 美元。

In New Haven and Hartford hundreds of new fans were turned away.

在纽黑文和哈特福德，数百名新球迷被拒之门外。

"I don’t know when anything has so moved me," wrote Mark Twain, " as did the plaintive melodies of the Jubilee Singers." In Washington they delighted President Ulysses S.

“我不知道什么时候有什么事情让我如此感动，”马克·吐温写道，“就像禧年歌手的哀伤旋律一样。”在华盛顿，他们让尤利西斯·S·总统感到高兴。

Grant and a concert hall filled with congressmen and diplomats.

格兰特和一个挤满国会议员和外交官的音乐厅。

"If the Great Book were destroyed today," wrote one reviewer, "it could be re-created out of the fabric of these very songs."

一位评论家写道：“如果这本伟大的书今天被毁了，它也可以用这些歌曲的结构来重新创作。”

Song: "Great Camp Meeting in the Promised Land" NARRATOR: Now when the Jubilees encountered Northern racism, protests often followed.

歌曲：《应许之地的大帐篷大会》 旁白：现在，当禧年遇到北方种族主义时，抗议活动常常随之而来。

When the singers were later refused accommodations on Pullman cars, George Pullman integrated the cars himself, and they stayed integrated for another quarter century.

当歌手们后来被拒绝在普尔曼汽车上住宿时，乔治·普尔曼亲自整合了这些汽车，他们又保持了四分之一个世纪的整合。

When a New Jersey hotel manager threw them out after realizing they were not "black-face" minstrels, leading citizens took them in.

当新泽西州的一家酒店经理意识到他们不是“黑脸”吟游诗人后将他们赶出去时，当地的知名人士收留了他们。

And an embarrassed Board of Education opened its schools to black children, for the first time.

尴尬的教育委员会首次向黑人儿童开放学校。

"These singers," wrote one newspaper, "are doing a great work for humanity.

一份报纸写道：“这些歌手正在为人类做出伟大的贡献。

They are, by their sweet songs, molding and manufacturing public sentiment.

他们用甜美的歌曲塑造和制造舆论。

"

”

Ella Sheppard NARRATOR: They returned to a school under siege.

艾拉·谢泼德旁白：他们回到了被围困的学校。

In Nashville as in many Southern cities, Northern troops stood guard against vigilantes.

与许多南方城市一样，在纳什维尔，北方军队严阵以待，防范治安维持者。

The new university President, Erastus Milo Cravath, was determined to oppose white hostility by making Fisk a Southern showcase.

新任大学校长埃拉斯特斯·米洛·克拉瓦斯 (Erastus Milo Cravath) 决心通过让菲斯克成为南方的展示品来反对白人的敌意。

He set out to build Jubilee Hall, a grand edifice to capture the imagination of donors, and frustrate the torches of the Ku Klux Klan.

他开始建造银禧堂，这是一座宏伟的建筑，旨在激发捐助者的想象力，并挫败三K党的火炬。

REAVIS L.

雷维斯 L.

MITCHELL, Historian: By 1873-74 in the South there was a series of fires, and many of those places identified as schools for the former slaves come under the torch.

历史学家米切尔：到 1873-74 年，南方发生了一系列火灾，许多被认定为前奴隶学校的地方都被火炬烧毁了。

But Jubilee Hall will stand as a mighty structure with walls more than 12 inches thick, of stone and brick.

但 Jubilee Hall 将会是一座宏伟的建筑，墙壁厚度超过 12 英寸，由石头和砖砌而成。

It would be adorned by a bell tower, which can also serve as a watchtower.

它将由钟楼装饰，钟楼也可以用作瞭望塔。

NARRATOR: Building Jubilee Hall was going to take a lot more money.

旁白：建造银禧厅需要更多的钱。

After less than two weeks’ rest, Sheppard and White reorganized the Jubilee Singers and took them back on the road.

休息了不到两周后，谢泼德和怀特重组了银禧歌手，并带领他们重新上路。

Now they were paid professionals, supporting a large entourage of managers, matrons, tutors and advance men.

现在，她们是拿薪水的专业人士，为一大批经理、护士长、导师和先遣人员提供支持。

Song: "The Battle Hymn of the Republic." Glory, glory, hallelujah, Glory, Glory hallelujah, Glory, Glory, hallelujah, His truth is marching on.

歌曲：《共和国战歌》。荣耀，荣耀，哈利路亚，荣耀，荣耀，哈利路亚，荣耀，荣耀，哈利路亚，他的真理正在前进。

NARRATOR: In June of 1873, at Boston's World's Peace Jubilee, the Singers were called on to make themselves heard over a one-thousand-piece orchestra, a chorus of ten thousand, and a battery of cannons in a colossal performance of "The Battle Hymn of the Republic."

旁白：1873 年 6 月，在波士顿的世界和平周年纪念日上，歌手们被要求在千人的管弦乐队、万人的合唱团和大炮的伴奏下，表演一场盛大的“共和国战歌”。

Georgia Gordon Franklin: They were representing a new freedman, a new kind of black person.

乔治亚·戈登·富兰克林：他们代表了一种新的自由民，一种新型的黑人。

The dignity, the carriage, the voice, and the articulateness of these young people surprised large numbers of northerners NARRATOR: Not every Northerner was won over.

这些年轻人的尊严、举止、声音、口才让很多北方人感到惊讶。 旁白：并不是每个北方人都被说服了。

"The New York World" called them "trained monkeys" who sang "with a wild darkey air." "The Newark Evening Courier" listed them as if they were items from a slave dealer’s catalogue.

《纽约世界》称他们为“训练有素的猴子”，他们的歌声“带着狂野的黑暗气息”。 《纽瓦克信使晚报》将它们列为奴隶贩子目录中的物品。

In Baltimore, a ticket seller refused to sell the singers admission to their own concert.

在巴尔的摩，售票员拒绝向歌手出售他们自己的音乐会的入场券。

And there was more.

还有更多。

Other black schools began their own choirs.

其他黑人学校也成立了自己的合唱团。

Hucksters passed themselves off as the original Jubilee Singers.

小贩冒充原来的银禧歌手。

All this further popularized the spirituals, but cut into the Jubilees’ receipts.

所有这些都进一步普及了圣歌，但也削减了禧年会的收入。

The singers were forced to seek out new fields for harvest -- thousands of miles from home.

歌手们被迫在距离家乡数千英里的地方寻找新的收割田地。

In April 1873, they set sail for the British Isles.

1873年4月，他们启航前往不列颠群岛。

Only one day after their London debut, the singers were astonished to find themselves performing before none other than Queen Victoria herself.

伦敦首演仅一天后，歌手们就惊讶地发现自己在维多利亚女王本人面前表演。

Maggie Porter NARRATOR: "They are real Negroes," wrote the Queen in her journal that night-- "come from America & have been slaves.

玛吉·波特旁白：“他们是真正的黑人，”女王那天晚上在她的日记中写道——“来自美国，曾经是奴隶。

They sing extremely well together." The Queen’s pleasure opened every door.

他们在一起唱得非常好。”女王的高兴打开了每一扇门。

Prime Minister Gladstone, The Prince of Wales, dukes, duchesses and earls were transfixed by their songs.

格拉德斯通首相、威尔士亲王、公爵、公爵夫人和伯爵都被他们的歌曲迷住了。

And the singers were quickly embraced by evangelicals crusading to save British souls.

这些歌手很快就受到了拯救英国灵魂的福音派人士的欢迎。

At Reverend Charles Spurgeon’s vast Tabernacle, they sang to a congregation of 6,000.

在查尔斯·司布真牧师巨大的会幕里，他们向 6,000 名会众唱歌。

Across England, Scotland and Ireland, they were a phenomenon.

在英格兰、苏格兰和爱尔兰，他们是一种现象。

Books and newspapers chronicled their rise from slavery.

书籍和报纸记录了他们摆脱奴隶制的过程。

At concert after concert their portraits and songbooks sold out to British fans.

在一场又一场的音乐会上，他们的肖像和歌集都卖给了英国歌迷。

Thomas Rutling and Isaac Dickerson left behind a string of broken hearts.

托马斯·鲁特林和艾萨克·迪克森留下了一串破碎的心。

MITCHELL: These young people are perfect Victorians.

米切尔：这些年轻人是完美的维多利亚时代人。

They are dressed in Victorian elegance.

他们穿着维多利亚时代的优雅服饰。

They deport themselves in a very Victorian manner.

他们以一种非常维多利亚时代的方式放纵自己。

Remember, the world was not accustomed to looking at black Victorians.

请记住，世界并不习惯看待维多利亚时期的黑人。

This may be the inspiration as much as the songs and the music, for Queen Victoria to allow her portrait painter to paint a beautiful Victorian portrait of these young Jubilee Singers NARRATOR: The British were fascinated by their color.

这可能是与歌曲和音乐一样的灵感，维多利亚女王允许她的肖像画家为这些年轻的银禧歌手画一幅美丽的维多利亚时代肖像。 旁白：英国人对他们的颜色着迷。

They said Mabel Lewis and Georgia Gordon could pass as English belles, and Minnie Tate as coming from the south of France.

他们说梅布尔·刘易斯和乔治亚·戈登可以被认为是英国美女，而米妮·塔特则被认为是来自法国南部的。

Dark-complexioned Jennie Jackson was most sought out of all.

肤色黝黑的珍妮·杰克逊是其中最受欢迎的。

Mabel Lewis NARRATOR: Mabel Lewis enjoyed teasing her fans.

梅布尔·刘易斯旁白：梅布尔·刘易斯喜欢戏弄她的粉丝。

Mabel Lewis NARRATOR: In the spring of 1874, the Jubilee Singers returned home in triumph with another $50,000 for the construction of Jubilee Hall.

梅布尔·刘易斯 (Mabel Lewis) 旁白：1874 年春天，银禧歌手 (Jubilee Singers) 凯旋归来，又获得了 50,000 美元用于建造银禧厅 (Jubilee Hall)。

"No one can estimate the vast amount of prejudice which has perished under the spell of their marvelous music," declared the Board of Trustees.

“没有人能够估计在他们美妙的音乐的魅力下消失的大量偏见，”董事会宣称。

"Wherever they have gone they have proclaimed to the hearts of men the brotherhood of the race." DEACON SAM MCCLAIN sings: In times like these, yes Oh, in times like these.

“无论他们走到哪里，他们都向人们的心中宣扬了种族的兄弟情谊。”执事山姆·麦克莱恩 (SAM MCCLAIN) 唱道： 在这样的时代，是的，哦，在这样的时代。

In times like these I need the Lord to help me.

在这样的时刻，我需要主来帮助我。

When I’m burdened down, NARRATOR: But success in England had come at a price.

当我负担沉重时，旁白：但在英格兰的成功是有代价的。

Worn down by a relentless schedule, an advance man suffered a nervous breakdown.

一名先遣人员因无情的日程安排而疲惫不堪，精神崩溃了。

DEACON SAM MCCLAIN continues: When I’m burdened down, When I’m burdened down, When I’m burdened down.

执事山姆·麦克莱恩继续说道： 当我负担重时，当我负担重时，当我负担重时。

Oh, I need the Lord to help me.

哦，我需要主帮助我。

NARRATOR: Typhoid fever carried away George White’s wife.

旁白：伤寒夺去了乔治·怀特的妻子的生命。

White himself nearly died of a pulmonary hemorrhage.

怀特本人也差点死于肺出血。

Contralto Minnie Tate had sung her voice to shreds.

女低音米妮·塔特 (Minnie Tate) 将她的声音唱成了碎片。

And the nagging cough Benjamin Holmes had urged friends not to worry about turned out to be tuberculosis.

本杰明·霍姆斯曾劝说朋友们不要担心的持续咳嗽，结果却是肺结核。

Throughout Tennessee and the rest of the South the hopes of African Americans were being dashed.

在整个田纳西州和南方其他地区，非裔美国人的希望正在破灭。

The Freedmen’s Bureau, established by Congress to enforce the rights of emancipated slaves, had been abolished.

国会为执行解放奴隶的权利而设立的自由民局已被废除。

Federal troops that had once protected African Americans were gone.

曾经保护非裔美国人的联邦军队消失了。

Many black schools shut down.

许多黑人学校关闭。

Former Confederates took over legislatures and began to replace laws protecting black rights with new segregation codes.

前南部邦联接管了立法机构，并开始用新的种族隔离法取代保护黑人权利的法律。

And despite all the singers had sacrificed, Jubilee Hall was still only a hole in the ground.

尽管所有歌手都牺牲了，银禧厅仍然只是地上的一个洞。

Fisk’s President Cravath knew this was because the A.M.A.

菲斯克的总裁克拉瓦斯知道这是因为 A.M.A.

had been borrowing heavily from the Jubilee Hall fund to stave off its own bankruptcy.

为避免自身破产，该公司一直从银禧厅基金大量借款。

Cravath was anxious to get the singers back on the road not just to build up Fisk and Jubilee Hall but to rescue the overextended A.M.A.

克拉瓦斯急于让歌手们重新上路，不仅是为了建造菲斯克和朱比利音乐厅，也是为了拯救过度扩张的 A.M.A.

Reminding them of their evangelical mission, Cravath prevailed on the exhausted Jubilees to embark on yet a third tour.

克拉瓦斯提醒他们他们的福音使命，在疲惫不堪的禧年会上获胜，开始了第三次巡演。

In January 1875, George White and Ella Sheppard organized a new troupe of singers.

1875 年 1 月，乔治·怀特 (George White) 和艾拉·谢泼德 (Ella Sheppard) 组织了一个新的歌手剧团。

Ella and Thomas Rutling, Maggie Porter and Jennie Jackson were the only original Jubilees left.

艾拉·鲁特林和托马斯·鲁特林、玛吉·波特和珍妮·杰克逊是仅存的原祖比利。

Among the newcomers was America Robinson, a Fisk student engaged to a classmate, James Burrus.

新来的人中有亚美莉卡·罗宾逊（America Robinson），她是菲斯克的学生，与同学詹姆斯·伯勒斯（James Burrus）订婚。

America Robinson NARRATOR: After long tours of America and Britain, the Jubilees traveled to Switzerland and Holland to test the universality of their music.

亚美莉卡·罗宾逊旁白：在美国和英国进行了长时间的巡演之后，朱比利乐队前往瑞士和荷兰，以测试他们音乐的普遍性。

Arriving in Amsterdam in the winter of 1877, the singers were mobbed by adoring fans.

1877 年冬天，歌手们抵达阿姆斯特丹，受到了狂热歌迷的围观。

Ella Sheppard NARRATOR: They performed for the Queen of the Netherlands and raised another $10,000.

艾拉·谢泼德 (Ella Sheppard) 旁白：他们为荷兰女王表演并又筹集了 10,000 美元。

But the non-stop schedule was wearing out George White and the singers.

但不间断的日程安排让乔治·怀特和歌手们疲惫不堪。

Boyer: The voice is the one thing we can’t camouflage.

博耶：声音是我们无法伪装的一件事。

We can’t put makeup on the voice and have it come out a different way.

我们不能对声音进行修饰，让它以不同的方式出现。

So if you have a cold, if you’re tired, if you’re hungry, all of these things come out in the voice.

所以，如果你感冒了，如果你累了，如果你饿了，所有这些都会通过声音表现出来。

PRESTON: So you have not only the physicality of singing and the—the—the problems of dealing with—with working on stage, but you have on top of all that the whole issue of the pressure that these kids are under to prove a point.

普雷斯顿：所以你不仅要面对唱歌时的身体素质和在舞台上工作时要处理的问题，而且最重要的是这些孩子为了证明自己的观点而承受的压力。

The point is that African Americans are educable people, that they are people who can gain from a college education.

关键是非裔美国人是受过教育的人，他们是可以从大学教育中获益的人。

Many people didn’t believe that.

很多人不相信这一点。

NARRATOR: That summer White asked Cravath to come help manage the troupe.

旁白：那年夏天，怀特请克拉瓦斯来帮助管理剧团。

He got more than he bargained for.

他得到的比他预想的要多。

Cravath had no musical training.

克拉瓦斯没有接受过音乐训练。

But he had big plans starting with an ambitious tour of Germany, birthplace of Bach, Beethoven, and Brahms.

但他有宏伟的计划，从雄心勃勃的德国之旅开始，德国是巴赫、贝多芬和勃拉姆斯的出生地。

White was against it.

白先生对此表示反对。

"...I know what is necessary to win musical success in Germany," White argued, "but I see no chance at all to accomplish it." But in the end, the Jubiläums-Sanger were a popular and critical sensation.

“……我知道要在德国赢得音乐上的成功需要什么，”怀特辩称，“但我认为根本没有机会实现这一目标。”但最终，桑格纪念日引起了广泛的关注和批评。

"The Berliner Musik Zeitung" NARRATOR: Even when the Germans did not understand the words they cried and smiled at the same places as English audiences had.

《柏林音乐报》旁白：即使德国人听不懂歌词，他们也和英国观众一样在同一个地方哭、笑。

At Potsdam, they sang for Kaiser Wilhelm the First.

在波茨坦，他们为威廉一世献唱。

As the Jubilees sang, Crown Princess Victoria, daughter of Queen Victoria of England, burst into tears.

随着禧年歌声的响起，英国维多利亚女王的女儿维多利亚王储妃泪流满面。

Ella Sheppard NARRATOR: "These songs, as you sing them, go to the heart," explained the Crown Prince.

艾拉·谢泼德旁白：“这些歌曲，当你唱的时候，会深入人心，”王储解释道。

"They go through and through one." In later years many of the singers would remember these concerts as the crowning triumph of their careers.

“他们一次又一次地经历。”在后来的岁月里，许多歌手都会记得这些音乐会，认为这是他们职业生涯的最高胜利。

But this was soon overshadowed by news from home.

但这很快就被来自国内的消息所掩盖。

With conditions worsening in the Tennessee countryside, hundreds of African Americans were fleeing to the cities for refuge, cramming into slums.

随着田纳西州乡村情况的恶化，数百名非裔美国人逃往城市避难，挤进贫民窟。

Epidemics were rampant.

流行病肆虐。

Tuberculosis claimed three Fisk students, among them the Jubilees’ old friend and colleague, Benjamin Holmes.

菲斯克的三名学生死于肺结核，其中包括朱比利夫妇的老朋友兼同事本杰明·霍姆斯。

"We were all quite prepared for his death," wrote America Robinson, "but we all felt it deeply.

“我们都为他的死做好了准备，”亚美莉卡·罗宾逊写道，“但我们都深深地感受到了这一点。

Everybody loved Mr. Holmes.

每个人都喜欢福尔摩斯先生。

They traveled from Berlin to Magdeburg, Magdeburg to Leipzig -- on and on through Germany.

他们从柏林到马格德堡，再从马格德堡到莱比锡——一路穿越德国。

An astonishing 68 concerts in 41 towns, in ninety-eight days -- not including impromptu performances in churches, trains, and private homes.

九十八天内在 41 个城镇举办了惊人的 68 场音乐会——还不包括在教堂、火车和私人住宅的即兴表演。

Many nights only six out of eleven were well enough to perform.

许多夜晚，十一个晚上中只有六个晚上表现良好。

Ella Sheppard collapsed and was sent to Holland to recuperate.

艾拉谢泼德晕倒并被送往荷兰休养。

Then Julia Jackson suffered a stroke.

然后朱莉娅·杰克逊中风了。

America Robinson NARRATOR: A new baritone named Frederick Loudin blamed Cravath.

亚美莉卡·罗宾逊旁白：一位名叫弗雷德里克·劳丹的新男中音指责克拉瓦斯。

Frederick Loudin NARRATOR: These were no longer the wide-eyed teenagers who had set out six years before.

弗雷德里克·劳丹 旁白：他们不再是六年前出发时睁大眼睛的青少年了。

Most were now well into their twenties.

大多数人现在已经二十多岁了。

Almost every one of them had been offered opportunities to study at British universities, perform for rival groups or even strike out on their own.

他们几乎每个人都获得了在英国大学学习、为竞争对手团体表演甚至自立门户的机会。

And they knew their own worth.

他们知道自己的价值。

More and more they demanded a a say in how the troupe would be managed.

他们越来越要求对剧团的管理有发言权。

ANDERSON: George White was used to running the group and giving clear directions, and mandating how things were going to go.

安德森：乔治·怀特习惯于管理这个团队并给出明确的指示，并规定事情如何进行。

But as the membership and the group evolved and became a professional organization, the individual members had ideas equally about how things should go.

但随着成员和团体的发展并成为一个专业组织，各个成员对于事情应该如何发展都有同样的想法。

And they often clashed with George White.

他们经常与乔治·怀特发生冲突。

NARRATOR: After a six-week recovery from near-fatal pneumonia, Ella Sheppard rejoined the singers in Germany to find chaos.

旁白：在从近乎致命的肺炎中恢复了六周后，艾拉谢泼德重新加入了德国歌手的行列，寻找混乱。

George White, worn out from illness, railed at the singers he still called his "children," and submitted his resignation.

因病而疲惫不堪的乔治·怀特（George White）责骂那些他仍称为“孩子”的歌手，并提交了辞呈。

To Sheppard’s horror, Cravath accepted it.

令谢泼德恐惧的是，克拉瓦斯接受了。

He was already planning tours of Australia, South America and the American West.

他已经计划前往澳大利亚、南美和美国西部旅行。

To keep the troupe alive, Cravath asked Sheppard to take over from White.

为了维持剧团的生存，克拉瓦斯要求谢泼德接替怀特。

After prayer, Ella agreed on the sole condition that she and the exhausted Jubilees return to Nashville at the end of their current engagements.

祈祷后，艾拉同意了唯一的条件，即她和疲惫不堪的朱比利在当前的约会结束后返回纳什维尔。

There would be no new bookings.

不会有新的预订。

Cravath called her a deserter.

克拉瓦斯称她为逃兵。

Ella Sheppard Franklin: The contrast between the world that the Jubilee Singers left and the world to which they will return is considerable.

艾拉·谢泼德·富兰克林：银禧歌手离开的世界和他们将返回的世界之间的对比是巨大的。

They had been wined and dined and lionized and praised all over the North and all over Europe.

他们在整个北方和整个欧洲都受到美酒佳肴、崇拜和赞扬。

and had seen how a human being could live.

并亲眼目睹了人类如何生活。

Bad for them to come back to a world that has deteriorated even since they left.

回到一个自他们离开以来就已经恶化的世界对他们来说很糟糕。

(12:33) NARRATOR: Some never did come back.

(12:33) 旁白：有些人再也没有回来。

Thomas Rutling and Isaac Dickerson refused to set foot in America, and eventually died in England.

托马斯·鲁特林和艾萨克·迪克森拒绝踏足美国，最终在英国去世。

The years of touring reduced George White to an invalid.

多年的巡演使乔治怀特变得虚弱。

Like Benjamin Holmes, he died of consumption.

和本杰明·霍姆斯一样，他也死于肺病。

At his memorial service in 1895, a few of the Jubilees returned to sing his favorite spiritual, "Steal Away." The singers who returned to Nashville were honored by Fisk for raising over one hundred and sixty-thousand dollars to complete Jubilee Hall, and save their school.

1895 年，在他的追悼会上，一些 Jubilee 成员回来演唱他最喜欢的灵歌《Steal Away》。菲斯克对返回纳什维尔的歌手们表示荣幸，因为他们筹集了超过十六万美元来完成朱比利音乐厅并拯救了他们的学校。

But as emissaries of the freedmen, their contributions extended far beyond Fisk University.

但作为自由民的使者，他们的贡献远远超出了菲斯克大学的范围。

They had introduced the world to the sacred hymns of their ancestors.

他们向世界介绍了他们祖先的神圣赞美诗。

Song: "Ain't Got Time To Die" NARRATOR: Ella Sheppard eventually returned to Fisk to be the teacher that she had wanted to become when she first arrived in 1868.

歌曲：《Ain't Got Time To Die》 旁白：艾拉·谢泼德最终回到菲斯克，成为她 1868 年刚到菲斯克时就想成为的老师。

By the time of her death at the age of 63, she had become one of the most respected women of her day: a confidante of Frederick Douglass and Booker T.

到她 63 岁去世时，她已成为当时最受尊敬的女性之一：弗雷德里克·道格拉斯 (Frederick Douglass) 和布克·T·肯尼迪 (Booker T.

Washington.

华盛顿。

And Sarah Hannah Sheppard, the mother who had once tried to drown Ella and herself rather than live in bondage, lived out her life in her daughter’s house, witness to the fulfillment of a prophecy made back in the days of their bondage, under the clouds of the Lord.

莎拉·汉娜·谢泼德（Sarah Hannah Sheppard），这位曾经试图淹死艾拉和她自己，而不是生活在奴役中的母亲，在她女儿的家里度过了她的一生，见证了在他们被奴役的日子里在主的云彩下实现的预言。

CAPTION: The Fisk Jubilee Singers still continue the concert tradition of the Negro spiritual.

图片说明：菲斯克禧年歌手仍然延续着黑人灵歌的音乐会传统。

Andrew Ward reads a passage from his book, "Dark Midnight When I Rise."

安德鲁·沃德读了他的书《我起床时的黑暗午夜》中的一段话。

Frederick Jeremiah Loudin's commanding presence and ambitious personality caused him to emerge as an unofficial spokesperson for the Jubilee Singers during the four years he toured with them.

Frederick Jeremiah Loudin 的威严和雄心勃勃的个性使他在与 Jubilee Singers 一起巡演的四年中成为他们的非官方发言人。

Maggie Porter's outstanding soprano voice made her a central member of the Jubilee Singers.

玛吉·波特出色的女高音使她成为银禧歌手的核心成员。

She went on to establish herself as a musician in her own right.

她继续凭借自己的能力成为一名音乐家。

Tenor Thomas Rutling is one of four members of the Fisk Jubilee Singers who traveled continuously with the troupe during all three of its tours of the U.S. and Europe.

男高音托马斯·鲁特林是菲斯克银禧歌手团的四名成员之一，他们在美国和欧洲的三场巡演中一直随剧团一起旅行。

Ella Sheppard traveled with the Jubilee Singers for eleven years as a soprano, piano accompanist and Assistant Director.

艾拉·谢泼德 (Ella Sheppard) 作为女高音、钢琴伴奏者和助理导演与 Jubilee Singers 一起旅行了十一年。

Sheppard was one of four of the troupe's members to participate in all three U.S. and European tours.

谢泼德是参加全部三场美国和欧洲巡演的剧团四名成员之一。

George White's leadership of the Jubilee Singers was the culmination of a career dedicated both to music and to proving African Americans were the social and intellectual equals of whites.

乔治·怀特对银禧歌手团的领导是他致力于音乐和证明非裔美国人在社会和智力上与白人平等的职业生涯的顶峰。

Established in January 1866 to educate newly freed slaves of all ages, Fisk University -- originally known as the Fisk Free Colored School -- would eventually become a premiere liberal arts institution.

菲斯克大学 (Fisk University) 成立于 1866 年 1 月，最初被称为菲斯克自由有色人种学校 (Fisk Free Colored School)，旨在教育各个年龄段的新近获得自由的奴隶，最终成为一所首屈一指的文科院校。

A chronology of the Jubilee Singers and their performances and journeys.

银禧歌手及其表演和旅程的年表。

Learn about the songs sung by the Jubilee Singers.

了解银禧歌手演唱的歌曲。

Includes lyrics and sheet music for some of the songs.

包括一些歌曲的歌词和乐谱。

Former slaves who battled prejudice and oppression to sing their way into a nation’s heart.

前奴隶们与偏见和压迫作斗争，用歌声走进了一个国家的内心。

Musical director of the Fisk Jubilee Singers Paul Kwami, and producer and director of Jubilee Singers: Sacrifice and Glory Llewellyn Smith speak with historian Lerone Martin in a conversation celebrating the 150 th anniversary of the Fisk Jubilee Singers.

Fisk Jubilee Singers 的音乐总监 Paul Kwami 以及《Jubilee Singers: Sacrifice and Glory》的制片人和导演卢埃林·史密斯 (Llewellyn Smith) 在庆祝 Fisk Jubilee Singers 150 周年的对话中与历史学家 Lerone Martin 进行了对话。