Iliene Tollerson interview with Jessica Gainer

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. There is discriminatory racial language in the song Double Ruler Three at minute 14:18. In this recording Iliene Tollerson interviews her aunt, Jessica Jet Gainer. After a short introduction, which includes a description of her early life in Early County, Georgia, Gainer sings Little Rosewood Casket and The House Carpenter. At minute 5:30, Gainer recalls her grandfather teaching shape-note singing. Next, at minute 6:41, Gainer sings, Butcher Boy, Barbara Allen, A Pretty Little Maid A-Standing in the Garden, and The Sailor Boy, after which she reminisces about her father. Then at minute 14:18, she sings Double Ruler Three; Pick a Backbone; an untitled song; and Baggage Coach Ahead, which her father sang differently than how it was written. She then sings an extra verse of The House Carpenter, a small part of an untitled song, Little Mary Fagan, and Whoa Mule, Whoa. At minute 24:44, Gainer discusses a man who had six wives who all died in childbirth. Gainer ends at minute 25:50, reciting a temperance poem. Jessica Willis (approximately 1909-2004) grew up on a farm in Early County, Georgia. She married William A. Gainer (1897-1966) and had a daughter, Priscilla Willis Gainer Faulkner (1938-2020.) They lived in Panama City, Florida. In 1968, she worked as a house mother at Emory University. AHC Oral History Cataloging Worksheet File Information Catalogue number \J\hS Ia (.) "::" () (1 ' '2 ';:;;p Source Field* (ContentDM) -::--" Release form Yeso~ Transcript Yes or No scanned: From Yeso~) Default text: Contributed by an OR: Donated by individual: individual through <your org. name> Georgia Folklore Collection through <your org. name> Object Information Enter information about the Title (interviewee name and date of interview) 0(\," t')~ ,) ,.\,,'1 \ 't\~}~ k\ i . cf,J ~',r ,t:,.;> Description (bio on interviewee) 1 Creator (Enter either an individual's name or an organization) Burrison Folklore Class Collection Name (within the organization) Georgia Folklore Archives Creation Date Exact Date (yyyy-mm-dd) (use only one) f-:Y~e-a-r-(if-o-n-Iy-th-e-y-e-a-rj-S-k-no-w-n-)--+----:::;-,-b-z<:-, ,---------------I Circa (4 digit year) Year Span From To Object Type Image_ Text Text and image_ Video and souryd _ Sound only_v_ Media Format (VHS, reel to reel, etc Recording extent Reel-reel Hours: Derivatives Minutes: Access copy: Yes or No Access copy format: Recording clip Yes or No Clip extent: Time code for clip (h:m:s) Beginning: DC)' (I U End: I\J Ai ~, ,, :i 2 , ;, usee ~~A r, \<'. J,L (.,u,J,,," r, "(-Lc "<h'ck A r\?,,, (~k,t>~_' , f\ ' ~u\to" Notes (interview summary) Recording issues (background noise, echo, static, etc.) Subject Information Enter 'Informat"Ion aboutthe content 0 f theobll'ect here: Subject Date Exact Date (yyyy-mm-dd) (use only one) Year (if only the year is known) Circa (4 digit year) Year Span From To Subject Who Last Name First Name MI C:::tA\ ! () l0,('j(0 Subject Country State County Town Local Name Location l') )4\ J",;' I ' Subject What AHC Cataloger will complete this for you, (LOC subject headinas only) Keywords Burrison, John Personal names See subject who for additional names '1\ LA) iii j, \ I 3 Corporate names Geographic locations Topics 4 INFORMANT: CONTENTS~ COLLECTED BY, Mrs. William A. Gainer Hopkins Hall - Emory University Atlanta, Georgia (permanent home address: P.O. Box 2464 - 311 S. Bonita Panama City, Fla. 32401) 13 Songs (many are incomplete) 1 Poem I1iene To11erson 161 Mt. Vernon Drive Decatur, ,Georgia 30030 Folk 300 - Fall Quarter 1968 Georgia State College Atlanta, Georgia Mrs. William Gainer, my Aunt Jet, is one of seven sisters, They were all reared on a farm in a 1ittle community known as White Pond. which is between the small towns of Blakely and Damascus, in Early County, Georgia. Their life on the fArm was one of hard work with little money. but rich in song and family ties. My mother (another of the seven sisters) still lives on the old farm place which was their home, Another house is there now. along with such conveniences as electricity and a telephone, but the place is rich with memories for all of us. Joseph Edward Willis, their father and my grandfather. was born in southwest Georgia about lS76 and lived in Early county from his marriage until his death in 1931. He was dearly loved by me. Every child should have such an adoring grandfather. He died when I Was eight .and I have missed him all my life. I have faint memories of songs he used to sing, and lest they be forgotten completely, I have asked Aunt Jet to sing ;as many as she remembers. TAPE TRANSCRIPTION RECORDED OCTOBER 8, 1968 ILIENE: This is my aunt, Aunt Jet, who is going to sing Some song.s that she remembers from my grandfather. Aunt Jet, where were you born? J.b"l' : ILIENE: JET: ILIENE: JET: ILIENE: In Early ,County, Georgia. And, uh, this WaS a farm v'all lived on, wasn't it? Did Papa farm all of his life? Yes - frustrated farmer - dreamer. Uh, well, now, what are you doing right now. I mean - you - I know ~ but - JET: ILIENE: JET: ILIENE: JET: Oh, I'm a house mother at Emory. But you live in Panama City - you count that as your home? Oh, Yes. But you grew up where? In Early County, in the country most all of our lives. Sometimes we moved into town for school, but we lived in the country most all the time. IUENE: Uh, I wonder if you remember - let's see - which one do you think we should try first? JET. IUENE: Something sad like, "1\ Rosewood Casket"? !tlaughter_1 O,K, Let's try "The Little ROSewood Casket." (I don't know why this vibrates.) L-speaking of tape recorder-l JET: me on it? IUENE: JET: All right. Do you know how - do you know enough to help Well, ue, no, I don't know much of that one - - you just Let's See if I can remember it, I think it's, uh - - I ~ JET~ LlTTIJl ROSEWOOD CASKET In a little rosewood casket Resting on a marble stand. There's a package of love letters Written by a cherished hand, Go and bring them to me, sister; Read them o'er to me tonight, For I've often tried, but could not, For the tears would dim my sight. Come on closer to me sister So if I should f all asleep. Asleep to wake with Jesus, Dearest sister, do not weep, When I'm dead and in my coffin, And shrouded all around: And my narrow bed is ready In the little church yard ground. Tell him, sister, when you meet him That I never ceased to love. And I'm dying, praying to meet him In a better world above. I don't know if that was consecutive order or not. but that' s the way we sang it, ILIENE~ JET: And then there waS uh, uh, "'The House Carpenter" that you - ~ ~ Oh, let's see, How'd it start off - uh ~ THE HOUSE CARPENTER "We've met, we've met. my own true love, "We've met. wetve met," he cried. "For I've returned from a stormy sea, And just for the sake of you." "If you had married the iring's daughter, dear, I'm sure she'd a married you; 'for I have married the house carpenter, 'And I think he's a fine young man." "If you'll forsake that house carpenter Ana come and go with me. I'll take you where the grass grows green On the banks of the sweet Tennessee," She picked up her poor little babe And kissed it one. two, three; Said, "Stay at home with your poor father And be his company." - 2 - (Well, there's ooe verse I'm not sure about - something about "she dressed herself So fine and when she \"'lked along the street she gli ttered Iike pure gold." I believe tha t was it - and then - ) ** IUliNE: She dressed herself in a suit of silk Most beautiful to behold, And as she walked along the street She glittered like pure gold. They hadn"t been sailing more'l1 two weeks, I'm sure that it waS not three Before (hum.?' hum) began to weep. And she wept most bitterly. "Say. what are you weeping for, my love? Are you weeping for my gold? Are you weeping for the house carpenter, Whom you never more shall see?" "I'm neither weeping for your gold, Nor for the house carpenter; I'm weeping for my poor little babe, Whom I never more shall see." They hadn't been sailing more'o three weeks; I'm sure that it was not four; Before the ship began to sink, And she sank to rise no more. Well, there WaS one thing you were telling me that I thought Was so interesting about, uh, Papa's father; about what he uSed to do. JET: Yes, I understand that he was a frustrated - we call the man ill retrospect, "old man Gent" from Look Jiomeward Angel. He wasn't carving his angel, but he was going around trying to teach singing, I believe, as my father waS a little boy, and so, I guess, perhaps, that's where he got these songs - I don't know. ILlliNE: Was this - do you koow whether or not this would be what they called "Shaped note singing" that they were teaching _ this - what - fa, so, la? JET: I think so. They would go to the churches and sing songs that were - I have an old book of 1:he shaped notes that was my mother's songs, and they are different types, more or less, from the regular folk - 3 - songs are _ like "West Virginia HillS" and all that stuff - very high notes - some of them. ME, well, didn't you say he was away from home then when your JET: daddy's mother died? Yes, I think my father was about twelve and he i.-his father 7 was off somewhere trying to teach singing - carving his angel: ILIENE: JET, Well, let's see now, uh - What ahout - "Sweet William" was sad, but I don't know but about two verses of it. ILIENfi, JET: Oh, I'd love to hear it, though. I don't know if it's the refrain or what, but of course, JUlia could not have her sweet William, and so, I just remember something about - e {I ) o-ct~ .- .) SWEET WILLIAM \ When Julia's old father came home that night, Inquiring of julia, his heart's delight: He ran up stairs, the door he broke, And found her hanging by her own bed rope. (I imagine the rope that pUlls the curtains back on the canopy beds _ and-) He drew his knife and cut her down, And on her bosom these words were found, "Go dig my grave, both long and wide, And bury sweet William by my right side." (and I don't know if it's the refrain or the first verse that says _ ) Sweet William, sweet William, I love you well; I love you better than tongue can tell; I love you better than you do know; I'd give the world if you could know. JET: ILIENE, JET' That's all 1 know of that one. l~ell, did you, uh, know any of "Barbara Allen"? Uh. I sung it through as a small Child with my Dad and all, but I don't know where it begins and ends _ and where - I remember something about - - - - 4- BARBARA ALLEN Miss Barbara thought she'd take a walk (and. by the way. they'd hold those last notes way up and high in most any of the songs - and I'll sing it with that inflection if I can remember,) She heard death bells a-ringing; She looked to the east, she looked to the west, And saW a corpse a-coming, "Set down, set down, the corpse." she said, "And let me look upon him; My love is true, my love is blue, I-Ie's purple as@,lily,"['!j.{lC'-/,I\l\( > J ~l "Go mother and make my death bed soon; Go make it long and narrow; Sweet William died for me today, I'll die for him tomorrow." Sweet William was buried in one church yard; Barbara Allen buried by him; From sweet William's grave sprang a milk white rose, From Barbara'S a green brier. They grew and they grew to such a height, That they couldn't grow any higher; They linked and tied in a true love's knot For all young people to admire, JET: And we had it that she had the brier _ for Some reason grew from ~ grave. ILIENE: JET: ILIENE: Maybe it waS because she was the heartless one: L-laughter_7 Maybe so, O.K. Jet, uh, you were telling me a song about - what _ "A Pretty Little Maid A-standing in the Garden" - that you remembered part of it? JET: Yes, but I don't remember how she recognized him '-or he her - what token - and I don't remember the tune exactly, uh. whether 'we took liberties with it, but it started off something like: A PRETTY LITTLE MAID A-S'1'ANDING IN THE GARDEN A pretty little maid WaS standin' in the garden, And a brave young soldier came riding by, - 5 - Says "pretty 1it tle maid Won't you marry a soldier Who served his time so long for thee," (I believe) UNo sir. no sir. you man of honor. A man of wealth you probably may be; But since I have a love on the ocean No man on earth shall marry me," (Andl don't know how - what she did - what token - but - ) He picked it up and promptly adciressed her, Ihe kisses he gave were one, two, three; He said, "Little maid, don't you remember You are the one engaged to me," JET, was. ILIENE~ That's all I remember about it, I don't know how much there Well, one that you, uh, mentioned the other day, I don't remember ever hearing before. Was it "The Sailor Boy" '1 JET: Seems like it just came back to me, I hadn't thought of it in a hundred years - but it waS something about, TIlE SAILOR BOY 'Twas on a cold and stormy night, The snow was on the ground; A sailor boy stood out on deck, His ship was outward bound, His sweetheart standing by his side Shed many a bitter tear; And while he pressed her to his breast Me whispered in her ear - "Parewell, my love, my own true love; .his parting gives me pain; But you will be my guiding star Till I return again, My thoughts alone will be of you When storms are raging high. So fare ye well, remember me, Your faithful sailor boy," But sad to say the ship returned without the sailor boy, For he had died While out at sea; The flag ran half-mast high. And when his Comrades came ashore And said that he was dead And handed her the note he wrote. And this is what she read: - 6 - JET, remember. lLIENE~ mostly? JET, "Parewell, my love, my own true love; On earth we meet no more, But we will meet in better lands The land beyond the shore. Oh, may we meet in better lands; The land beyond the sky, Where you will never more be parted Prom your faithful sailor boy, I don't know if I got that right or not, l~at's what I Uh, when do you remember your father singing these to you As lullabies, mostly, Sometimes he would just love to sing and he usually had one or two of us on his knee - and he'd sing to us. ILIENE~ girlS? JET: ILIENE, JET, one time. ILIENE: You say one or two of you, I know there were - how many Seven girls. And a farmer having to support seven girlS? And all very close together - almost all in our teens at mfllllllU t uh 9 The re was some ~ uh ... I don t t know whether you td call them nonsense songs - or what _ but Some real,uh uh, funny songs that didn't make too much sense - that you were Singing to me, JET: ILIENE: JET: ILIENE: JET~ None at all - some. Uh, this one that, uh, what, uh - Learned to talk Prench? Yeh. I never understood how the words got so distorted, or what _ or whether it started with French or not - but here's the way we learned it. Shall I make an effort? lLIENE: JET, like this, Yes, please do. I'd hate to spell it: We sang, uh, something that sounded - 7 - JET: ILIENE: DOUBLE RULER lliRt>E Oh. I learned to talk French by tile alamo de vances Chick an too and tarry mo follow mo de vances Bonshur chiramid stiff 'n tote a yigger Yasen, chasen, sasen, frasen. little stingy niggah Oh. it's 'tween you and me It is very plain to see That 1 learned to pick a banjo By the double ruler three. I lay behind the log where the darkie shoots a tossIe I lay like a racoon trying to fool a possum Oh, I lay there still, it WaS very diffikill And they didn't find me out until they got to Louisville. Oh, Joe beat the drum and Sam play the fifer Here's one child that can read, write and cipher Twice two's five, carry six's seven Carry something (?) is 28 make eighteen 'n eleven Oh. it's 'tween you and me It is very plain to see That I learned to piCk a banjo By the double ruler three. Ole Massa died on the leventeenth of April And they put him in the trough \~ere they caught the sugar maple They dug a deep hole way out on the level Sure 'nuff I believe that he's gone to the devil Ole Missus cried, she began to wipe her eyes She married big BilJ.sie Weaver and she couldn't tell why. ~tlaughterJ I never Saw the sense of that: Oh my: Well, there was another o~ uhf that you were singing the other day, that if I had heard it before I don't remember it - that "Pick a Backbone" - was that the name of it? JET: I just remember that snatch of something and it went like a - PICK A BACKBONE Oh, pick a back ~)ne, pick a back bone ole Logan is dead pick a back bone, pick a back bone Ole Logan is dead. Been a-ridin', been a-ridin' Ever since I was a child But I never stopped ridin' Till I'd ridden a mile. - 8 - 1;Je'Y\(/ II {2/),l Oh, Papa Whipped Mama And Mama whipped me About a green apple That I never did see, (and then go on) Pick a back bone, pick a back bone Ole Logan is dead (I got that one too low - I can hardly go down that way but - ) pick a back bone, pick a back bone Ole Logan is dead, JET: And then I remember one line of another one, I have no idea what it was. It's something about - "and they combed his hair with a fish back bone, and that don't suit my eye." L-laughterJ I've never lmown what that was all about. That's the only line I remember. JET: I wish you COUld remember it. Combed his hair - or combed his head - I don't know Which he said - \uth a fish back bone, and that don't suit my eye - - I reckon ILIENE: Oh, well, there was one, uh, oh something about uh, uh - I don't know - remember how it started - 'bout "when you go courtin' let me tell you where to go", uh, I don't know if that \oas the first - something - JET: Oh, let me see - SONG When you go courtin' let me tell you where to go Way down yonder where the old folkS below (1) Ole folks gone and the children all cryin' All the girls mad with their heads not combed, They called me to supper and I thought it waS to eat They called on me to carve up the meat I had one knife and not no fork Sawed and sawed and couldn' t make a mark. Sawed and sawed till. I got it off the plate The girl said, "Mister, yoU'd better wait," Sawed and sawed till 1 got it on the floor Gave it a kick and sent it out the door, - 9 - Up stepped the old man with a double-barrel gun The girl said, "Mister, yoU'd better run," I stood and gazed just as brave as a bear I tangled my fingers in the old man's hair, When they go to church let me tell you how they dress Ole brown skirt and that's the very best Ole brown waist with a crease n all around Ole leather bonnet with a hole in the crown, ,ClaughterJ ILIENE: Aunt Jet, you, uh, mentioned about a song called "The Baggage Coach Ahead", tha t you knew snatches of it, JET: Yes, You know, I did see the music to that one time, and much to Daddy's chagrin, it was different from the way he sang it, so I don't know whether I confuse it or not - but I know where he would say - in the chorus he would hold the note up long,and they would drag it out with the first syllable of the word, or something. He didn't like that because he said it wasn't authentic - but I think this is the way he'd sing it, It starts off about - BAGGAGE COACH MillAn The midnight express from the depot So grand Had just started out on its way (and, anyway, it talked about the gaity or something of the people except _) A young man wi th a babe in his arIDS Who sat with a bowed down head, (and then, uh, the baby cried so much that they objected to it and then. th-) "Oh, take it to its mother, oh where is she," A lady softly said, uI would that I coulrt,tt was the sad man's reply. "But .shets dead in the COach ahead .. " And as the train sped onward A husband sat in tears Thinking of the happiness .~Qf just a few short years, Baby'S face brings pictures Of a cherished hope that fled But baby's cries can't awaken her In the baggage coach ahead. - 10 - JET: In the sheet music they sang it a li tt Ie dif f erent, and they _ "as the train sped onward" - like that, It was a little more musical, And they'd say, "and the bilby's face brings pictuxes, of a cherished hope that fled" - and it was a liHIe bit smoother. But Daddy objected to that - he said it was not right, That the old way was different. ;-The following waS collected November 18, 1968. Please turn up - the volume on tape recorder - I goofed:_1 ILIBNE: Aunt Jet, could you do that verse that you said you remembered that goes to "The House Carpenter"" JET: Oh yes, after she tells the baby goodbye, and then -** L~see page 3 **_1 and then she sailed away, That was that one, I think, that I forgot. ILIENE: Well, have you remembered any other songs that you could sing for me? JET: Just snatches of them, I do remember something about a song that begins something like this: 1 waked up one morning in 1855; 1 thought myself quite happy to find myself alive; I hitched up my mules as I used for to do, A-hauling off my groceries away I did go. (and then I think - ) I met an ole man, he followed after me (and this doesn't seem like the next line, but it's what Comes to me _ ) As fast as I could drink one glass Another WaS filled for me. Instead of hauling ten loads, I only hauled four; I got so drunk in Louisville I couldn't haul no more. JET: ILIENE: JET: And I don't knol< how that emled - but that's all I remember. Well, did you say you remembered, !JIl, "Little Mary Phagen"? Oh, a verse or two, I believe - oh, sad, sad stuff: - 11 - LITTLE MARY FAGAI!l Little Mary Fagan, She went to town one day; She went to the pencil factory 10 draw her weekly pay, She left her home at 'leven, She kissed her mother goodbye; Not one time did the child think That she was going to die, Leo Frank, he met her With a brutish heart we know; He smiled and said, "Little Mary, You 9 re go ing home no more .. It He sneaked along behind her 1111 She reached the meadow's gloom And smiled and said, "Little Mary, You've met your fatal doom," (And I don't know how they went through the killing and all, but it must have been all through it - but I don't remember any more of it,) ILIENE: Well, what about, uh, did you remember you were singing something about "Whoa Mule, Whoa"" JET: Oh, there was another rollicking tune that was, uh, changed from, uh, past to present tense, and SO forth, but it started off, uh - WHOA MULE. WHOA I was going to the party; The rain was falling fast, I got my mule in harness now I've got him hitched at last. Whoa mule - whOa mule I say: Keep your seat,Miss Liza Jane A11d hold on to that sleigh. Keep your seat Miss Li~a Jane; Miss Dinah, you keep cool. I haven't got time to 'kiss you now, I'm busy with this mule, Whoa mule - whoa mule I say: Keep your seat, Miss Liza Jane And hold on to that sleigh, JET: What amused me was - he said to keep cool, They liked to keep their cool then - even then: L~laughter_7 But that's all I know of that one, too. ... 12 _ interesting, uh, oh about some man whose wives died either when they ILIENE~ JET: ILIENE: Do you remember any other songs now? Uh, not right this moment I don't. I can't think of a thing. Well, one thing you were telling me that I thought waS so were having children, or, uh, something. JET: Yes, I think noW - I just heard about him - that it would be a most interesting case for medical science to follow, if it really happened like that. I think he lost about six wives, either in childbirth or before. MId, uh, the last wife refused to have any children and at that time I heard about it, she was in good health. But it must have been an extreme Case, if it was such a thing, of the Rh factor and, Ih, 1 think medical science would probably be interested in that now. And - but the colored people had a word for it: they called cases like that - that the man "white-washed his wife'S liver" - which wa&y-perhaps the liver was involved and they had something about it. ILIbNE: lLl.E,;,,: 1 thought that was very interesting. Oh, it was most amazing - - for a diagnosis. vh my: Well, Jet, there was, uh, something that I remember us saying, uh, and you said it might have been said at a school closing; this sad, sad piece about, uh, little Blossom - or whatever her name was. I wonder if you could remember Some of that to say? JET: Oh, let's .see. Perhaps it will Come back. Xt begins with: ~Oh, dear, I'm so tired and lonely. i wonder why my Mama don't come. She told me to shut my blue eyes illld before I waked up she'd be home. She said she was going to see Grandma, \~o lived by the river so bright; But i expect my ~mma's fallen in there illld will not Come home tonight thin!, l' 11 go down and meet Papa. I expect he has stopped at the store. r t' s a great pretty store all full of bottles; I wish he wouldn't go there anymore. - 13 - JET: Sometimes bet s sick when he comeS home; And stumbles and falls up the stairs; And once when he Came in the parlor He kicked at my poor li tHe chair. Mother \~aS so pale and frightened, And hugged me up close to her breast, And called me her poor little Blossom 1 guess I've forgotten the rest. But 1 remember papa was angry; His face was So red and So wild; And when he struck at poor ~Wma, He hurt-ed hi spoor lit He child. But 1 love him, and guess I'll go find him; Perhaps he'll come home with me soon, Then it won't be so dark and lonely \~aiting for Mama to come." out in the night went the baby; It's little heart beating with fright; And till it's tired feet reached the gin palace, All radiant with music and light. '!he Ii tt Ie hand pushed the door open. Although the touch was as light as a breath; The little feet entered the portals l~at lead to ruin and to death. "Oh PaPa," she cried as she reached him. Her voice rippled out sweet and clear. "I thought if I'd come I would find you, And I am so glad I am here. The lights are so pretty, dear Papa. The music, it sounds so sweet; But I 'spect it's 'most supper time, Papa, 'Cause Blossom wants something to eat& tt A moment the bleared eyes gued wildly Down into th~. face sweet and fair; And t,hen as':Jai"demon possessed~ hj'.m t He grasped at the back of a chair. A moment - a second - 'twas over. The work of a fiend \~as complete; And poor little innocent Blossom Lay quivering and crushed at his feet. God pity the Women and children Who, cursed by the demon's rum --- And I hale to stop it there, but I do not remember anymore. It just doesn't Come back - but it must have been one of those preprohibition things along in the _ - 14 - n.IENE, JET: It's so sad: Oh. borribly sad t~laugbt~r_7 and it must bave be~n in tbe times wben only the men went in to drink - and the poor Women suffered, -15final page 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. 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