In content, early black minstrelsy differed little from its white counterpart. As the white troupes drifted from plantation subjects in the mid-1870s however, black troupes placed a new emphasis on it. The addition of jubilee singing gave black minstrelsy a popularity boost as the black troupes were rightly believed to be the most authentic performers of such material. Other significant differences were that the black minstrels added religious themes to their shows while whites shied from them, and that the black companies commonly ended the first act of the show with a military high-stepping, brass band burlesque, a practice adopted after Callender's Minstrels used it in 1875 or 1876. Although black minstrelsy lent credence to racist ideals of blackness, many African-American minstrels worked to subtly alter these stereotypes and to poke fun at white society. One jubilee described heaven as a place "where de white folks must let the darkeys be" and they could not be "bought and sold". In plantation material, aged black characters were rarely reunited with long-lost masters like they were in white minstrelsy.