Read the passage from Sugar Changed the World. Knowing that their slaves were likely to die by the time they reached their thirt
ies, Louisiana sugar planters were extremely selective—they bought only healthy-looking young men in their late teens. On average, the men purchased in Louisiana were an inch taller than the people bought in the other slave states. Those teenagers made up seven to eight out of every ten slaves brought to America's sugar Hell. The others were younger teenage girls, around fifteen to sixteen years old. Their job, for the rest of their short lives, was to have children. Elizabeth Ross Hite knew that, for sure, "all de master wanted was fo' dem wimmen to hav children." Enslaved children would be put to work or sold. The overseer S.B. Raby explained, "Rachel had a 'fine boy' last Sunday. Our crop of negroes will I think make up any deficiencies there may be in the cane crop." That is, a master could sell any slaves who managed to live, if he needed more money than he could make from sugar. Jazz was born in Louisiana. Could it be that a population of teenagers, almost all of them male, were inspired to develop their own music as a way to speak, to compete, to announce who they were to the world? Bomba in Puerto Rico, Maculelê in Brazil, jazz in Louisiana—all gave people a chance to be alive, to be human, to have ideas, and dreams, and passions when their owners claimed they were just cogs in machinery built to produce sugar. How do the authors use historical evidence to support their claim in this passage? They argue that youth and gender are advantages when inventing entirely new forms of music. They argue that plantation owners acted against their own economic interests when they selected enslaved young men. They argue that different forms of music, such as jazz and bomba, came out of different types of hardship. They argue that extremely difficult conditions inspired enslaved young men to invent new forms of music.
