Pat Rainwater interview with Mrs. O.F. Reynolds and Ollie Gates

The John Burrison Georgia Folklore Archive recordings contains unedited versions of all interviews. Some material may contain descriptions of violence, offensive language, or negative stereotypes reflecting the culture or language of a particular period or place. There are instances of racist language and description, particularly in regards to African Americans. These items are presented as part of the historical record. This project is a repository for the stories, accounts, and memories of those who chose to share their experiences for educational purposes. The viewpoints expressed in this project do not necessarily represent the viewpoints of the Atlanta History Center or any of its officers, agents, employees, or volunteers. The Atlanta History Center makes no warranty as to the accuracy or completeness of any information contained in the interviews and expressly disclaims any liability therefore. If you believe you are the copyright holder of any of the content published in this collection and do not want it publicly available, please contact the Kenan Research Center at the Atlanta History Center at 404-814-4040 or reference@atlantahistorycenter.com. In this recording Ollie Gates taps her foot while singing three gospel songs: Never Grow Old, a song about heaven; One Morning Soon, a song about angels; and Well I Can See So Much, a song thanking God for His work. Ollie Gates (approximately 1916-1977) was born near Jefferson, Georgia. She worked as a domestic worker in Atlanta, Georgia, for over 30 years and performed with singing groups on the radio for over 15 years. NEGRO SPIRITUALS On Saturday afternoon, November 26, 1966, I visited Ollie Gates, a Negro woman about 50 years of age. Most of her life, Ollie has been employed as a servant in the Atlanta area. She was born near Jefferson (rural area in South Georgia), but has resided in the Atlanta area for more than 30 years. Ollie confessed her love for singing, and explained that for the past 15 years or so she has done some semi-professional work -- singing with special groups and at times, on the radio. She impressed me as being quite a gay and colorful person with perhaps a tendency toward the dramatic. I learned of Ollie's singing ability through friends who formerly employed her in their home. These people agreed to introduce me and, in fact, accompanied me to her home to record some spirituals. Ollie's home is located in a rather deteriorated section of Atlanta where many small, shabby homes are found. Her home, though quite small, was extremely tidy and clean. The walls were lined with pictures and photographs of all types, and there was an abundance of religious plaques on the wall. A piano, television, and telephone seemed to dominate the room. Strangely enough,Ollie stood the whole time we were in her home. I do not know if she felt we expected her to behave in this manner or if she was just plain uncomfortable. At any rate, to my inquiry regarding any old tales, ballads, superstitions, or jokes she might know, she answered that a serious illness of three months past had just about taken away her memory. No amount of prodding on my part resulted in her furnishing any stories; however, she readily agreed to sing some songs. She had no music and patted her foot to keep time. She did an admirable job on the songs listed below: NEVER GROW OLD* I have heard of a Iand on a far-away strand In a land where we'll never grow old, Where it's heaven on high, There we never shall die, In a land where we'll never grow old. Never grow old, never grow old, In a land where we'll never grow old, In a land where we'll never grow old. *This hymn is quite familiar in the small, rural churches of the South. ONE MORNING SOON One morning soon, one morning soon, one morning soon Well, I heard the angels singing; they was singing to me. Singing to me, singing to me. Well, I heard angels singing, and they was all around my head. All around my head, all around my head. Lord, I heard the angels singing; they was sounding so sweet. A'sounding so sweet, sounding so sweet. Well, I heard the angels singing. They was singing to me, singing to me. Singing to me, Lord; I heard angels singing. WELL I CAN SEE SO MUCH Oh, I can see so much what the Lord, the Lord, has done for me. Then I can see so much what the Good Lord has done for me. Then I can see so much what the Lord, the Lord, has done for me. You know he brought me from a mighty long way. Well, I can see so much that the Lord, the Lord, has done for me. Then I can see so much what the Good Lord has done for me. Then I can see so much what the Lord, the Lord, has done for me. You know he brought me from a mighty long way. Well -- every, every, every, every night Then you know my soul looks back well -- down, down, down that lonesome road. Then I said Lord, well I thank you for all you have done for me Because you brought me from a mighty long way. Well, I can see so much what the Lord, the Lord, has done for me. Then, I can see so much what the Good Lord, the Lord, has done for me. Then I can see so much what the Lord, the Lord, has done for me. You know, yes, yes, he brought me from a mighty long way. A PDF transcript exists for this recording. Please contact an archivist for access. Professor John Burrison founded the Atlanta Folklore Archive Project in 1967 at Georgia State University. He trained undergraduates and graduate students enrolled in his folklore curriculum to conduct oral history interviews. Students interviewed men, women, and children of various demographics in Georgia and across the southeast on crafts, storytelling, music, religion, rural life, and traditions. As archivists, we acknowledge our role as stewards of information, which places us inaposition to choose how individuals and organizations are represented and described in our archives. We are not neutral, andbias isreflected in our descriptions, whichmay not convey the racist or offensive aspects of collection materialsaccurately.Archivists make mistakes and might use poor judgment.We often re-use language used by the former owners and creators, which provides context but also includes bias and prejudices of the time it was created.Additionally,our work to use reparative languagewhereLibrary of Congress subject termsareinaccurate and obsolete isongoing. Kenan Research Center welcomes feedback and questions regarding our archival descriptions. If you encounter harmful, offensive, or insensitive terminology or description please let us know by emailingreference@atlantahistorycenter.com. Your comments are essential to our work to create inclusive and thoughtful description.