This recording is available on the Florida Memory Project.

Time Annotation Layer
4:03 3137 A1 and 2 Library of Congress
8:22 - 8:26 3137 B1 and 2 Library of Congress
12:56 - 12:58 3138 A1 and 2 Library of Congress
17:21 - 17:23 3138 B1 and 2 Library of Congress
21:57 - 22:01 3139 A1 and 2 Library of Congress
26:26 - 26:29 3139 B1 and 2 Library of Congress
28:50 - 28:52 3140a 1 and 2 Library of Congress
32:20 - 32:22 3140 B1 and 2 Library of Congress
36:51 - 36:54 3141 A1 and 2 Library of Congress
40:41 3141 B1, 2, and 3 Library of Congress
45:07 - 45:11 3142 A1, 2, and 3 Library of Congress
49:36 - 49:40 3142, B1, 2, 3, and 4 Library of Congress
53:51 - 53:55 3143 A1 and 2 Library of Congress
0:57 - 3:39 ZNH sings 'Mule on the Mount' Songs
10:26 - 12:50 ZNH sings 'Let the Deal Go Down' Songs
13:47 - 15:54 ZNH sings 'Uncle Bud' Songs
16:30 - 17:17 ZNH sings 'Oh the Buford Boat Done Come' Songs
17:58 - 19:49 ZNH sings 'Cuz Ever Been Down' Songs
20:11 - 21:10 ZNH sings 'Halimuhfack' Songs
22:20 - 23:07 ZNH sings 'Tampa' Songs
23:59 - 26:24 ZNH sings 'Po Boy' Songs
27:04 - 28:49 ZNH sings 'Mama Don't Want No Peas No Rice' Songs
33:21 - 33:46 HWS sings Songs
34:18 - 34:57 HWS sings Songs
35:28 - 35:49 HWS sings Songs
36:26 HWS sings Songs
37:25 - 38:01 HWS sings Songs
38:11 - 38:46 HWS sings Songs
39:35 - 39:59 HWS sings Songs
40:12 - 40:34 HWS sings Songs
41:09 - 41:59 HWS sings Songs
42:60 - 43:56 IJ sings Songs
44:34 - 45:03 IJ sings Songs
45:19 - 45:58 IJ chants Songs
46:26 AS sings Songs
47:48 - 48:15 AS sings Songs
48:34 - 49:05 AS sings Songs
49:11 - 49:32 AS sings Songs
50:22 - 50:34 MF chants a game Songs
51:19 - 51:36 MF sings a song Songs
51:41 MF demonstrates a game Songs
52:49 - 53:49 Hazelhurst sings 'The Captain's Mule' Songs
53:57 - 55:01 Hazelhurst sings "John Henry" Songs
0:00 - 0:12 Zora Neale Hurston (ZNH): In the jook houses and doing any kind of work at all, chopping wood and in the lumber camps and everywhere you find this song. No where you can't find parts of this song, 'Mule on the Mount'. Notes
0:12 - 0:16 Herbert Halpert (HH): Well, is it known, is it a consistent song as you hear it all over? Notes
0:17 - 0:25 ZNH: The tune is consistent but the verses, you know how things, in every locality you can find some new verses, everywhere. Notes
0:24 HH: I mean does it have the same choral verses? Does it have 'Mule on the Mount' wherever you hear it? Notes
0:28 - 0:34 ZNH: Well, there's some place that I haven't heard that same verse 'Mule on the Mount' but there's no place that I don't hear some of the same verses. Notes
0:35 - 0:39 HH: Where did you learn it this particular way? Notes
0:39 - 0:44 ZNH: Well, I heard the first verses, I got it in my native village of Eatonville, Florida from George Thomas. Notes
0:46 - 0:48 HH: And this is one version you're going to sing? Notes
0:48 - 0:53 ZNH: I'm going to sing, oh I guess, all the tune is the same. I'm going to sing verses from a whole lots of places. Notes
0:53 - 0:54 HH: Alright. Notes
3:39 - 3:47 HH: When you hear that sung, or nearly sung, about how many verses does a man know? He doesn't know as many as you do. Notes
3:47 - 3:50 ZNH: Yes, sometimes they sing 30 and 40 verses. Notes
3:50 - 3:51 HH: Is one of these continuous? Notes
3:51 - 3:56 ZNH: It's one of these things that's grown by incremental repetition until perhaps it's the longest song in America. Notes
3:57 HH: [inaudible] Notes
3:59 ZNH laughs [distortion] Notes
4:08 - 4:09 HH: What's your name, please? Notes
4:09 - 4:10 BL (Beatrice Lange): Beatrice Lange. Notes
4:11 - 4:12 HH: Where do you come from? Notes
4:13 - 4:15 BL: I came from South Georgia. Notes
4:16 - 4:17 HH: Where? What part of South Georgia? Notes
4:17 - 4:18 BL: Woodbine. Notes
4:18 - 4:19 HH: And how old are you? Notes
4:20 - 4:20 BL: 35 Notes
4:21 - 4:23 HH: And what are you going to tell us or? Notes
4:23 - 4:27 BL: Well, I'm going to tell some folk stories that my brother-in-law told me. Notes
4:28 - 4:29 HH: How long ago? Notes
4:29 - 4:31 BL: About a year ago. Notes
4:31 - 4:32 HH: A short, a short while back. Notes
4:32 - 4:35 BL: Well, it happened longer than that but he told me about a year ago. Notes
4:35 - 4:38 HH: I mean, how did it, it happened long ago . . . what do you mean by that? Notes
4:38 - 4:41 BL: I mean that the story happened longer than that. Notes
4:41 - 4:43 HH: Well, how did it go? I mean how did it -- Notes
4:43 - 4:47 BL: Well, this old negro of his told him about it. The negro belonged to his father. Notes
4:48 - 4:48 HH: Uh-huh Notes
4:48 - 4:50 BL: Who had a rice plantation. Notes
4:51 - 4:54 HH: The negro told it to him when? I mean did he ever tell you that? Notes
4:54 - 4:57 BL: About six months to a year ago. Notes
4:57 - 4:59 HH: I mean the negro had just told him the story? Notes
4:59 - 5:01 BL: Yes, while he was working with him. Notes
5:01 - 5:07 HH: I see. And you don't have any name for it? Is that right? Notes
5:08 - 5:11 BL: Well, uh, it's a storm story, a hurricane story. Notes
5:12 - 5:13 HH: Just, okay, [laughing] go ahead . Notes
5:13 - 5:16 BL: I have several stories though. This is just one. Notes
5:16 - 5:19 HH: Well, let's start off with just one. That's the easiest way. Notes
5:19 - 5:20 BL: Alright, sir. Notes
5:20 - 5:23 HH: Alright. Well, can you tell it or are you going to tell it or read it? Notes
5:23 - 5:24 BL: Well I can kind of glance at it. Notes
5:25 - 5:26 HH: Alright. Go ahead. Notes
5:27 - 5:34 BL: Uh, this story happened during the fall of 1898 upon a small island off of the coast of Georgia Notes
5:35 - 5:44 BL: Where the sea level was very low. Came a hurricane which covered the whole island in several feet of water and most of the natives had to swim around in their homes. Notes
5:44 - 5:51 BL: One particular instance which calls to mind is that of an old negrum owned by one of the early rice planters. Notes
5:52 - 6:03 BL: He tells: Yes sir, we were swimming around in that water trying to find a shallow place when we seen some of them pretty long neck bottles floating around. Look like them water in 'em. Notes
6:03 - 6:17 BL: So we drink some and before long we was glad to have some been come because it sure made us feel good. Sure wish I could have some of that stuff now. Boss, I believe that been shampoo. Notes
6:18 - 6:23 BL: Further on the flooded plantation, the boss paddled his canoe up to the loft of the barn. Notes
6:23 - 6:42 BL: There sat another of his n-- with a big stick in his hand as if he was going to strike something. Even that the hole in the side of the barn where the [inaudible] was stored had looked as if a board had been torn off. He glanced over in the corner and there'n a pile of dead coons which looked like a hundred or so. Notes
6:42 - 7:14 BL: As the boss approached, he said, 'By grade, Tom, what have you been doing here?' He replied in a dramatic voice, 'Boss, I's just been praying all the time, how's that good for the ole master to come take this water back where it belong so we's could get back to work. Boss, I've been a praying every chance that I'm got to liberation.' 'Well, from the looks of the coons you killed, you didn't have time to pray much, Tom'. 'Mass Donald, I wouldn't have killed 'em but they kept barring me from praying all the time.' Notes
7:14 - 7:27 BL: Another story I told of an old native of Georgia came to Florida in the nineties to seek adventure. This old cracker who really lived in the backwoods had a name of being the biggest liar in the country. Notes
7:27 - 7:33 HH: Now look, suppose you don't read it from there and you just tell me it as a story. Go ahead. You can do it. Notes
7:32 - 7:33 BL: Just let me glance at it. Notes
7:33 - 7:33 HH: Alright. Go ahead. Notes
7:33 - 7:34 BL: [Laughter] Notes
7:36 - 7:36 HH: Go ahead. Notes
7:37 - 7:48 BL: He said me and my son Israel, we went down to Floridy to pick oranges. Huh. They grow so big you can fill a water bucket full with four of 'em. Notes
7:49 - 8:05 BL: The alligators, they were so tame, and I bet we had about a hundred and fifty, every day we went down to the palmetto patch and whistled and they would come running under the palmetto patch at me and crawl up on my shoulders and talk to me. Notes
8:07 - 8:17 BL: Why down there we cut down the palmetto trees to make fence posts and they is the best you ever seen. They would last a hundred years. I know because I tried them twice. Notes
8:26 - 10:26 ZNH: Surely, but I have to give all that other data. My name is Zora Neale Hurston and I'm going to sing a gambling song that I collected at Boston Florida. Turpentine is still there. And the men are playing a game called Georgia Skin. That's the most favorite gambling scheme among the workers of the South. And they lose money on the drop of a card, the fall of a card. And there's a rhythm to the fall of the card and after they get set with the two principles and the other people are called pikers and anybody that wants a special card, he pick it out and they call that, uh, picking one in the rough. Notes
9:11 - 9:17 HH: I think it's better if you explain just how the cards, which way the cards get out or how people are standing there before you go on. Notes
9:18 ZNH: Well, you see, they take a deck of cards and they shuffle it real good and watch the man to be sure he don't steal nothing. That is, that he don't set a cub. There are four cards of every kind in the deck. And when the card like the card you have selected falls, you lose. Sometimes if you don't watch the dealer he'll put three cards just like his own down at the bottom of the deck so that everybody falls before he does and then he wins all the money. Notes
9:42 HH: Well, what does he do? Is the dealer holding the deck of cards? Notes
9:45 ZNH: And he puts it on the table. They don't allow him to hold it because they're afraid he'll steal. Notes
9:49 HH: Alright. Notes
9:49 ZNH: So they, he puts it on the table and he turns over a card. Notes
9:53 HH: He just turns over . . . Notes
9:54 ZNH: Card by card and if the card is just like yours, when it falls, you lose. And, uh, so they holler when he gets all set, when the principles has got their cards and the pikers has got theirs and then the man will say he wants them to put the bets down and he'll say 'Put the money on the wood, and make the bet go good and then again, put it insight and save a fight' and so they all get the bets down and then he start and they'll holler, 'Let the deal go down, boys, let the deal go down'. And someone will start singing. Notes
12:59 - 13:40 ZNH: Uncle Bud is not a work song. It's a sort of social song for amusement and it's so widely distributed, it's growing all the time by incremental repetition, and it is known all over the South. No matter where you go you can find verses of Uncle Bud. And, uh, it's a favorite song. And the men get to working in every kind of work and they just yell down on Uncle Bud and nobody particular leads it. Everybody puts in his verse when he gets ready and Uncle Bud goes and goes and goes. Notes
13:29 - 13:34 HH: What, is it sung before the respectable ladies? Notes
13:34 - 13:40 ZNH: Never! It's one of those jook songs and the woman that they sing Uncle Bud in front of is a jook woman. Notes
13:42 - 13:44 HH: I thought you heard it from women? Notes
13:44 - 13:46 ZNH: Yes, I heard it from women [laughs]. Notes
13:46 - 13:47 HH: Go ahead. Notes
15:55 - 15:57 HH: Is there more to it? Notes
15:59 - 16:02 ZNH: I know I know some more verses but right off I don't recall. Notes
16:06 - 16:08 HH: I think that's a very valuable contribution to scientific recording. Notes
16:13 HH: Alright. Notes
16:13 - 16:24 ZNH: 'Oh the Buford Boat Done Come' is a song from the Geechee country in South Carolina but I heard it down in Florida from a Geechee that moved down in Florida. I forget her name right now. Notes
16:24 - 16:24 HH: Well, what type of song is it? Notes
16:25 ZNH: It's a little dance song with a Charleston rhythm. Notes
16:59 - 17:03 HH: How do they play it? Would you tell us very quickly? Notes
17:03 - 17:07 ZNH: Uh, it's just a dance song and then they dance a Charleston rhythm on it. Notes
17:07 - 17:09 HH: Was it, is it solo dancing? Notes
17:09 - 17:10 ZNH: No, group dancing. Notes
17:10 - 17:12 HH: Well, what kind of group is it? Notes
17:12 - 17:15 ZNH: Oh, just any group, any working group, and they'll clap their hands on it and sing. Notes
17:24 - 17:30 ZNH: I'm a sing a blues, 'Cuz Ever Been Down', and I got it at Palm Beach from a fellow named from Johnny Bardon. Notes
17:31 - 17:33 HH: Where did you get it Notes
17:34 - 17:36 ZNH: I got it in 1933. Notes
17:37 - 17:42 HH: Can you tell me, do you know how old a Blues it is? And how you happened to learn it? Notes
17:42 - 17:55 ZNH: Well, it's one of those things just go around all the jooks and what not like that and it goes by incremental repetition, a verse here and a verse there. I don't suppose anybody knows how old it is and when it started. Notes
19:50 - 19:55 ZNH: I heard 'Halimuhfack' down on the East Coast. Notes
19:56 - 19:57 HH: Who did you hear it from and when? Notes
19:58 ZNH: I don't remember. I was in a big crowd and I learned it in the evening during the crowd. And I'm just, don't can't exactly remember who I, who did teach it to me but I learned it from the crowd most exactly more from one. Notes
21:13 - 21:16 HH: You said you learned it in a crowd. How do you learn most of your songs? Notes
21:17 - 21:44 ZNH: I learn them. I just get in the crowd with the people if they singing and I listen as best I can and I start to joining in with a phrase or two and then finally I get so I can sing a verse and then I keep on until I learn all the songs, all the verses, and then I sing them back to the people until they tell me that I can sing them just like them and then I take part and I try it out on different people who already know the song until they are quite satisfied that I know it and then I carry it in my memory. Notes
21:44 - 21:48 HH: Well how about those that you have in your books and publish in the journals? Notes
21:48 - 21:54 ZNH: Well, that's the same way I got them. I learn the song myself and then I can take it with me wherever I go because I -- [cut off] Notes
22:07 ZNH: This is a song, uh, called 'Tampa'. I've known it ever since I could remember so I don't know who taught it to me but I heard it sung in my native village when I was a child, not in front of the old folks, of course. Notes
23:09 - 23:11 HH: You say that was uh. . . when was that sung? Notes
23:12 ZNH: I've known it all my life. No, it was not confined to children. Everybody sung and danced on it. And you hear a Negro orchestra, a local orchestra, they often played it now, played the tune. They don't sing the words but the tune is one of their favorite dance tunes. Notes
23:27 HH: Alright. Notes
23:28 - 23:48 ZNH: This one. Some of them call it 'Po Boy' and some of them call it 'Po Gal' but it's a pretty well-distributed blues tune all over the South. The words are not rhymed. It's a typical Negro pattern. The same line repeated three times with a sort of flip line on the end and the change is in the tune rather than the words for the most part. Notes
23:49 - 23:51 HH: Where did you pick up the way you sing it? Notes
23:52 - 23:57 ZNH: I'm - no, not all my life but I kept learning verses as I've gone around. Notes
26:33 ZNH: How do you want this? Notes
26:34 - 26:35 HH: Just play it for me in ballad. Notes
26:36 - 27:02 ZNH: 'Mama Don't Want No Peas No Rice' is a song from Nassau in the Bahama islands. They are great song makers and their tunes are decidedly more African than the ones made by the negroes in America. They make songs so rapidly they say 'Anything you do we put you in sing'. And in a few hours they have a song about it. Mama don't want no peas no rice is about a woman who wanted to stay drunk all the time and her husband is really complaining about it. He's explaining to the neighbors what's the matter with his wife and why they don't get along better. Notes
27:44 [Distortion] Notes
28:44 [Distortion] Notes
28:57 HH: Your name, age? Notes
28:59 - 29:05 EW: Evelyn Werner, 32. Notes
29:05 HH: And where were you brought up? Notes
29:06 EW: I was born and raised in Jacksonville, studied voice in Chicago but never went to college. Notes
29:16 HH: Uh, huh, What do you mean 'voice'? Singing? Notes
29:18 EW: Yes. Notes
29:19 HH: Uh-huh, Alright. But you were brought up, most of your life, you spent right around here? Notes
29:25 EW: Well, as far as the life goes, yes but I'd go to Philadelphia for a while and come back and go to Chicago for a while and come back. Notes
29:34 - 29:54 HH: Alright, now you'll tell the story. Apparently the interest in the story is just to have you talk naturally and at the same time, we'll have the story. So, would you try -- Notes
29:44 Man: Go ahead. Notes
29:45 EW: Well, this story was told to me two years ago by one of the heirs to the Reed Plantation, Mulberry Grove, which is just south of Jacksonville. She said that right after the war when the slaves were freed she gave, she told Mariah the cook of her freedom and gave her the house at the end of the field to live in. So Mariah and all of her children set out and the youngest and the tiniest at the end of the line would fall down and get up, fall down again and get up. So Mrs. Pearson called to Mariah and said, 'You're losing one of your children, Mariah'. And Mariah turned back and said, 'You can have that one, Miss. Pearson, if you wants it.' That's all. Notes
30:39 - 30:45 HH: Dr. Corse would you please explain why we asked to have this record made? Notes
30:45 - 31:04 CC: This record was made for the purpose of recording the annunciation of an educated Southern white voice. And the story was one which was recorded by the Federal Writers as part of their work for the American guide series volume that's Florida. Notes
31:06 - 31:08 Someone says: Educated white woman. Notes
31:14 - 31:15 HH: Dr. Corse will you please introduce the speaker? Notes
31:16 - 31:31 CC: This is Mrs. Rolla Southworth, State Director of the Professional Service Projects of the WPA in Florida who will give us her opinion of the recording program of the folk songs in Florida. Notes
31:32 - 32:15 Rolla Southworth: Well, Dr. Corse it would really seem that we have finally grown up as a nation when we can spend the day recording such folklore as we have heard today. And this is only the beginning and in only one city. Think of the endless material alone throughout Florida. Now although we are in the deep South, our state, with Mr. Call, has a very cosmopolitan group. As a matter of fact, the flags of five nations have flown over Florida. Isn't that a fact? And what a wealth of material that will indicate. Personally, my greatest interest is in the Negro Folklore and how justly proud we all are of Zora Hurston whose fine literary ability and wealth of experience has made our recordings possible today. Notes
32:19 [Distortion] Notes
32:15 - 32:16 ZNH: Thank you, Ms. Southworth. Notes
32:25 HH: Can you state your name, your age, and your occupation? Notes
32:29 - 32:38 HWS: My name is H. W. Stuckey. I'm 43 years old. I'm a WPA instructor for the blind. Notes
32:41 - 32:45 HH: And, uh, you are also a preacher, aren't you, sir? What congregation? Notes
32:45 - 32:47 HWS: A missionary Baptist Notes
32:48 - 32:55 HH: Now, uh, this isn't part of your usual, as a missionary Baptist, does your church approve of singing? Notes
32:55 - 32:56 HWS: No sir, no sir, they do not. Notes
32:57 - 33:01 HH: You're going to help us out with these, however? Notes
33:01 - 33:06 HWS: Yes sir, in order to preserve these songs of my childhood days on a farm in South Carolina. Notes
33:06 Notes
33:11 HWS: Yes sir. Notes
33:12 HH: What, would you explain something about how it was used and when or something like that? Notes
33:17 HWS: Yes sir Notes
33:18 HH: Go ahead. Tell me something about it. Notes
33:46 - 33:50 HH: Let me interrupt you here. Now that, that, what would you call that? Notes
33:50 - 34:12 HWS: It's a farm song, made up between the boys plowing on two or more plantations; one would holler 'Hallo' and the other would answer with a second 'Hallo'. That would be a signal for knocking off time for noon, for dinner. Notes
34:12 - 34:17 HH: Suppose you give the effect of actually being out on the farm? Notes
35:01 - 35:03 HWS: About the fish vendor? Notes
35:03 HH: No, no there's another one without words. Notes
35:06 HWS: Yes, yes. Just a minute. Notes
35:07 ZNH: The one without the words. Notes
35:12 HWS: OH, yes, yes. It was usually used in the afternoon mostly when the boys were knocking off work and going in to clean up or going out to call on their girls at night. Notes
35:22 HH: How would it sound, suppose someone had just haerd it, what would they hear? Notes
35:52 - 35:54 HH: Where would the two of them be? Notes
35:55 - 36:13 HWS: Well, it'd be in the afternoon and they usually had one big plantation a well where the boys from the different fields would water their stock. And they would be unhooking from the plowers, the planters, and distributers, and going to water their mules and put them in the lot for the night when they start these hollers. Notes
36:15 - 36:17 HH: Would they be near each other? Or? Or? Notes
36:17 - 36:20 HWS: Possibly sometimes a quarter mile or a half a mile away Notes
36:20 - 36:24 HH: Would you do it again? Was it the same effect between a quarter mile [inaudible] do a quarter mile. Notes
36:46 - 33:46 [Distortion] Notes
36:51 - 36:54 31,41, A1 and 2 Notes
36:56 - 36:59 HWS: Shall I make an explanation of this? Yes sir. Notes
37:01 - 37:24 HWS: during my early childhood days in Lee County, SC, my brother-in-law used to carry me about with him at night to these old fashioned dances and he called sets. They would also send for him for 10 or 15 miles around to come and call sets. And one of the songs that I remember well is like this. Notes
38:01 - 38:03 HH: Are there more verses to that? Notes
38:03 - 38:05 HWS: No that's all I remember. Notes
38:06 HH: Will you sing that, will you repeat the point [inaudible] Notes
38:09 Notes
38:47 - 39:07 HH: Now, Those last directions, were they taught, is that what he called out for them to do? Notes
38:52 HWS: Yes sir. Notes
38:53 HH: What do they do on the song part, I mean. Notes
38:55 HWS: They'd be dancing. Notes
38:56 HH: They'd be dancing. Notes
38:57 HWS: When they said do it the right, they'd be swinging their partners to the right and choosing, changing partners. Notes
39:01 HH: I see. The last part was giving directions. The rest of the time they were dancing. Notes
39:05 HWS: Yes sir Notes
39:06 HH: What kind of dancing were they doing? Notes
39:07 HWS: Well, old fashioned slow dancing is all I knew, they called it. Notes
39:16 HH: Go ahead. Notes
39:17 - 39:34 HWS: There was an old gentleman when I was a little boy in Sumter, South Carolina, who used to go around the streets selling fish. And this was the song that he would sing in the morning as he came down Manning Avenue where I lived and other streets throughout the city and could be heard for quite a distance, several blocks, singing. Notes
40:01 - 40:03 HH: Is that you as a kid? You learned it as a boy? Notes
40:03 HWS: Yes, sir, I wrote, 9 or 10 years old. Notes
40:48 - 41:07 During my early boyhood days I had to nurse my sister's children. I wasn't, being my sight being affected I would not work on the farm and they made me nurse the children. These are some of the songs I liked to sing with the babies in my arms in the, under the tree shade or sometimes on the porch. Notes
42:10 - 42:11 IJ: Irene Jackson Notes
42:12 - 42:13 HH: How old are you? Notes
42:13 - 42:15 IJ: I'll be 40 my next birthday. Notes
42:16 - 42:17 HH: And where were you brought up? Notes
42:18 - 42:19 IJ: In South Jacksonville, FL. Notes
42:20 - 42:22 HH: And what is it, tell us about what you are going to sing? Notes
42:24 IJ: It's just a play we used to have when we were children and we would be playing church and then rather than sing church songs, we'd make up our songs and we called it our 'play church'. Notes
42:37 HH: You did? Well, woud you start in with? Notes
42:41 - 42:45 HH: When you were small did you play it with a guitar. Notes
42:44 - 42:46 IJ: No, I was just playing with it since then. Notes
42:46 HH: You're playing it with a guitar since then. Why are you singing it with a guitar? Can you sing it without? Notes
42:51 IJ: Yes, I could. Notes
42:52 HH: Well, would you try it without? Notes
42:54 IJ: Yes. Notes
42:55 HH: Try it without. Notes
42:55 IJ: [Bang] Oh my god. Notes
42:57 - 42:60 HH: That's alright. Don't worry about it. Go ahead. Notes
43:60 - 44:04 HH: And that's one you used to, you used to play games to that? Notes
44:12 HH: Explain about that. Notes
44:14 - 44:25 IJ: Well, we would be having service and it was time for our preacher to preach though. He couldn't preach out the bible so we'd just take a word and add on and go to preaching. We'd be out in the yard. Notes
44:25 - 44:28 HH: Well, where was this? Where would you be? You wouldn't be doing it in the church. Notes
44:28 - 44:29 IJ: No, we'd be out in the yard. Notes
44:29 - 44:30 HH: Just playing. Notes
44:30 - 44:30 IJ: Clean. Notes
44:30 HH: Uh-huh Notes
45:12 - 45:19 IJ: The closing part of children's sermon that we used to have. Notes
45:47 [Laughter] Notes
46:02 - 46:05 AS: Alabama Singleton. I am 33-years-old. Notes
46:06 - 46:07 HH: And where were you brought up? Notes
46:07 AS: Savannah, GA Notes
46:09 - 46:12 HH: And, uh, what are you going to [inaudible] Notes
46:12 - 46:16 AS: A play that we used to play when we were children in Savannah. Notes
46:18 - 46:19 HH: And what was it called? Notes
46:20 - 46:23 AS: A ring play, just a ring play, a children's ring play Notes
46:24 - 46:25 HH: Alright. Sing. Notes
46:43 [Distortion] Notes
47:13 - 47:16 HH: How did they play that? Notes
47:16 AS: A ring play, yes. When you say 'go all around the maypole' you'll join hands and be going around the ring and then you're showing your emotion and doing a little dance. Notes
47:24 HH: Well now, how do you, was there somebody [inaudible]. Notes
47:26 AS: In the middle of the ring and the rest of the children would be patting their hands. Notes
47:30 HH: Could you pat the way they did? Take it over again and do the patting. Notes
47:32 AS: Yes. Notes
47:36 AS: Alright Notes
47:38 HH: Alright Notes
47:39 - 47:43 AS: Well, when you throw around the maypole you doesn't pat because your hands be joined then. Notes
47:43 HH: Oh, I see, well sing that and don't do your hands [Inaudible]. Notes
48:16 HH: Now, what kind of motion would they do? Notes
48:18 AS: Oh, shucks. There'd be motion of their feets. [Laughter] Notes
48:25 AS: Well, there was a man in Savannah Georgia used to sell watermelons and he would come through every morning early and we'd hear him sing. Notes
49:40 - 49:50 MF: Maggie Fulton Notes
49:44 - 50:04 HH: [Inaudible] Just sitting down is alright. Well no, I want to get it close to you. I'm going to put it around here. Now, you just face in that direction. Talk right out. [Adjusts the microphone]. Notes
50:04 - 50:05 MF: Maggie Fulton Notes
50:05 - 50:06 HH: And how old are you? Notes
50:07 - 50:07 MF: 43 Notes
50:09 HH: Tell us about this game. Where you learned it. Notes
50:12 - 50:21 MF: Well I learned it at my home in Leesville, South Carolina, a little childhood play. The play goes like this. Notes
50:36 - 50:41 HH: Well, what, how did it go on? What else happened? What happened in the game? Notes
50:41 - 50:45 MF: Well, the children would act as if they were flying like the turkeys. Notes
50:46 - 50:52 HH: As if they were flying like a turkey? How was it played and how did they start off play Notes
50:52 - 51:15 MF: So they start off playing all over so if you're standing around and one would say 'Little girl, little girl have you been to the barn' and everyone said, yes Ma'am. And they answered 'Did you see my turkey?'' You say 'Yes Ma'am'. And you say 'How high did it fly' and you say 'So high' and then everybody stretched their arms up as if it was the wingspan. Notes
51:09 HH: Now you'll have to talk a little bit louder now on the next game. Notes
51:12 MF: Alright Notes
51:19 - 51:21 MF: Just a little barnyard play Notes
51:21 - 51:23 HH: Alright. How does it go? Notes
52:17 - 52:47 Harold B. Hazelhurst (HBH): I'm 30 yrs old, born in Georgia, reared in Florida, a water boy on the Marlboro camp, introduces a song. Notes
52:22 - 52:23 HH: And where were you brought up? Notes
52:23 - 52:25 Notes
52:27 HH: Where did you learn this particular song? Notes
52:29 - 52:30 Notes
52:31 - 52:34 HH: How did you learn it? Notes
52:34 - 52:39 Notes
52:40 - 52:42 HH: What is this one called? Notes
52:42 - 52:46 Notes
52:47 - 52:49 HH: I like that. Alright. Let's hear it. Notes
55:04 - 55:03 Notes
55:07 HBH: Yes, sir. Notes
55:08 HH: What would they sing it for? Notes
55:09 - 55:08 Notes
55:18 - 55:20 HH: What kind of work were they doing? Notes
55:20 - 55:19 Notes
55:24 - 55:31 HH: And these were the mule-skinners who were doing the singing? And what do they do? Sing the song while they were [inaudible] Notes
55:30 - 55:33 Notes
55:40 - 55:41 HH: And what is the name of this song? Notes
55:41 - 55:41 Notes
55:43 - 55:44 HH: Now how did you happen to learn it? Notes
55:44 - 55:43 Notes
55:57 HH: While they were driving spikes. Could you mark off how the hammers would be coming down? Just where they'd be coming, hitting against this. Notes
56:05 HBH: Like that. Notes
56:06 - 55:06 HH: Yeah, that would be good. Notes
56:07 - 56:06 Notes
56:08 - 56:21 HH: [Banging] Alright. Can you, You can double-drive as long as you don't double-drive on the microphone. Alright. That's fine. Now, uh, and, This is 'John' -- you were telling me that this 'John Henry' wasn't sung the same way always? I mean, they wouldn't begin -- Notes
56:21 - 56:32 HBH: Well, no, they wouldn't begin at the same place all the time. Sometimes they'd begin when he was only six months old or perhaps they would begin by John Henry he had a little woman. Notes
56:32 - 56:36 HH: Well now tell me, uh, but did they always have the same tune to it? Notes
56:36 - 56:41 HBH: Oh yes, they had the same tune all the time but different wording. You know. They would make up words all the time. Notes

S1576 , T86-244 at Florida Memory Project.

IIIF manifest: