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.
This is the first of a two part recording; this part begins with Louie Aunt Lou McCray remembering when she performed for the Grand Ole Opry radio program in Nashville, Tennessee. Next she plays the first tune she learned on the banjo, Walking in the Parlor. At minute 4:00, she recalls musicians she has performed with during her career, including Roy Acuff, Bashful Brother Oswald (Beecher Ray "Pete" Kirby), Grandpa Jones (Louis Marshall Jones), and David Stringbean Akeman. McCray says she learned banjo from her brothers, and her parents didnt approve of her playing. Then she plays Golden Slippers, Liza Jane, and Going Down the Road Feeling Bad. At minute 9:30, McCray teaches the interviewer, John Landes, how to play Walking in the Parlor on the banjo, and shows him an expensive fiddle. She also explains she plays organ and piano at church with her son, Earl Howard McCray. Then she plays two more songs on her banjo, Cripple Creek and When the Roll is Called. Next at minute 17:00, McCray says that her granddaughter sings with her, demonstrating that young children still know older folk songs. She also reminisces about traveling to play music with her husband, Owen Reese McCray. At minute 19:25, McCray plays Comin Round the Mountain. Afterward, she discusses her family who lived in Virginia. Her father, William Armstrong, was a farmer, and neither he nor her mother played instruments. McCray and her husband began operating the post office in Head Waters, Virginia, in 1912. Next, Earl McCray shows Landes awards he received for his high attendance at the local Presbyterian church, and then he and his mother perform a song from their church, Ill Fly Away, while she plays the piano. At 27:40, Louie McCray talks about her daughter, who is a nurse who graduated from the University of Virginia Hospital and works in Nashville, Tennessee. She then tells a story about a woman who shot herself when she was 54 because a man cheated on her. Around minute 30:30, Earl McCray expands on how he always attends church, even when traveling. Louie McCray also discusses her Irish and Dutch ancestry before playing several more folk songs on the banjo. At minute 41:30, Earl McCray plays a piano song he learned at school, and a religious song he wrote called Jesus Led Us All the Way that he performs at church.
Louie Aunt Lou Viola (Armstrong) McCray (1889-1975) was born to William Armstrong (1946-1914) and Susan (Bodkin) Armstrong (1852-1929) in Highland County, Virginia. In 1909 she married Owen Reese McCray (1877-1953), and they operated the post office in Head Waters, Virginia. She performed as a banjo player with touring folk and country musicians and at Head Waters Presbyterian Chapel. McCray had ten children, including Earl Howard McCray (1926-2001), who was an active member of Head Waters Presbyterian Chapel, the Stonewall Ruritan Club, and the McDowell Volunteer Fire Department. No biographical information about John Smith has been determined.
J: (You) bay you lecumed Jnom youn bnotheM, and they both played banjo ... Aunt Lou: They played ... no, one played the 6-[ddle and one the banjo. And then he'd hang w old 6,lddle up in the hall, uk.e that, and I'd jump up and get .,i,t and Ma.ma. would bhoo me away ( ... ) bhe dldn 't want me to lecum to play a. banjo. She bald a. ba.nj o piek,,i,n' woman' b a. lazy woman. Why I 'm not a.Jnald on any type~ J: Youn panenu dldn't uk.e you to play ... Aunt Lou: My mom dldn 't want me to lecum to play the banjo. J: Vid they uk.e to have you bing? Aunt Lou: Nah, I neven dld tny to bing much. ***"Golden SuppeM" Aunt Lou: I'm gettln' old and I had my bhoulden bnok.e and U' b bothenln' me home. J: What'd you eaU the tune you jUbt played? Aunt Lou: "Golden SuppeM" J: Golden SuppeM. You ea.U that elawha.mmen htyle? Aunt Lou: Yeah, I'm elawha.mmen. I have a. hon though, tha.u mMn.,i,ed and away, he pla.yb tw way -- he' b good. J: Pla.yb Senuggb btyle ... Aunt Lou: Yeah, new btyle. .. but I'm old-timey. I' li play ya. "Liza. Jane." ***Liza. Jane
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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.