Query: SELECT note_id,film_id,text,cite_title,cite_link FROM note WHERE film_id = '32';

159 Davenport asked Mr. Joines about his scars, and later felt his reply made a strong opening. It is arresting. It suggests Mr. Joines"s wide range of experience -- his farming, hunting, fighting, military service. It is a table of contents for events later narrated in the film. On a deeper level it sets up the underlying movement of the film -- from wounding (a rough childhood, World War II, financial worries, his own injuries and the illness of his wife) to healing (through a good marriage and religious faith). Joyce Newman felt uneasy on first seeing the scene. But when she saw Mr. Joines stick out his tongue, she realized he was in control in the scene, performing, and having fun.

160 Fleet Brock, a cousin and boyhood chum, tells a version of this incident in the trade-fair scene.

162 With his strong sense of narrative form, Mr. Joines closes off the account with a punch line. The picture of the Joineses" home dissolves into the first of a series of historical photographs. Mr. Joines looked through a selection of early photographs of mountain life, picking out those that resembled the land, houses, people and activities he remembers. The photographs are indicated within the transcript, and are identified elsewhere on this site.

163 Drinking has a large role in both his serious recollections and his comic tales. It was a commonplace of life in the community in which he grew up, as it was everywhere in early America. The still and the worm thereunto attached are standard items of bequest in North Carolina wills of the eighteenth and early nineteenth centuries, whether in Presbyterian or Lutheran or Quaker families. Mr. Joines does not remember when he himself took his first drink. He enjoyed good, expertly made moonshine (and helped his father make it for home consumption), but first-hand knowledge of the cons it could have for family life made him give up all alcohol at the time of his marriage in response to his fiancée"s statement that she would not marry someone who drank.

164 This line is the source of the film title.

166 The first photograph is an actual likeness of Frail Joines from the family album.

167 Story No. 1 -- true tale.

168 Photograph of Frail Joines"s father from the family album.

169 Photograph of his mother from the family album.

170 (290) Filmed at Riley"s Stock Market, the local livestock market and weekly trade fair in North Wilkesboro. The music is from a radio playing in the market. (319) Story No. 2 This is a summary version of a true tale about Frail"s brother Jim and his cousin Fleet Brock, whom he has encountered (327) at the market. For other tellings, see Joyce Joines Newman, “Humorous Local Character Stories from Wilkes County, North Carolina: An Individual Storytelling Tradition.” M. A. thesis, Folklore, University of North Carolina at Chapel Hill, 1978, p. 26.
1978: 26.

171 Story No. 3. An excerpt from Fleet"s true tale of how Jim accidentally shot Frail. Frail followed it with his own rather different story, a chain of episodes and punch lines. Davenport asked Frail to show the scar.

172 Story No. 4 -- a true tale that gives a glimpse of the playful competitiveness of storytellers.

173 Story No. 5 -- tall tale (Baughman motif X94l). For another rendition that Frail taped four years earlier, see Jerry D. Joines, "Twelve Tall Tales from Wilkes County." North Carolina Folklore Journal, 20: pages 5-6, 1972. The earlier performance elaborated on the grandpa"s age, eighty-seven. This tall tale is a bit unusual in having a human protagonist. But on one end of the scale the lies shade into "brag talk." Mr. Joines performs some material in this mode: "I know when I was a young man that I used to get up ever" morning be-fore breakfast, get a wildcat under each arm, and them trying to fight, and run a-straddle of a barbwire fence about four miles -- work me up an appetite so I could eat a good breakfast. Many a time that I"d go up on the mountain and catch a bear and take a live rattlesnake for a whip and ride "im all over the mountains" (Joyce Joines Newman, "Invoking and Subduing the Irrational: Narrator, Repertory, Style, and Social Context of Tales from Western North Carolina." Graduate term paper, 1974, page
This tale-telling session was arranged for the filmmaker, but is not f or that reason unnatural. Tale telling is still common within the family circle and the Brocktown community. The Joines children take an increasing interest and pride in their father"s skill and repertory. The scene was filmed under trees in the Joineses" front yard. Other persons in the scene include Joyce Joines Newman, Jerry Joines, and Jerry"s friend Jim Jennings, himself a good storyteller.

174 Story No. 6 -- tall tale (Baughman motif Xll6a). The same article -- one written by his son Jerry -- also transcribes an earlier telling of this tale.

175 The trunk of the hollow tree had a crack in it, allowing the raccoons to enter to escape the dog. The 1971 telling capped the story with the comment, "I don’t know how many they was; I didn"t keep count of "em, but they was several coons in that tree."

176 John Newman, Joyce"s husband at the time, dishes out homemade ice cream for her to serve.

177 Story No. 7 -- true tale. Frail"s grandfather Peter Joines married Lorina Meredith of Roan Mountain, Tennessee, on November 7, 1874; her brother was Nick Meredith, who married Peter’s sister Martha Joines. Their sister Nancy Lou Meredith married Frail"s grandfather"s brother, Willis Wesley Joines. The Merediths were half Cherokee. The Joines family arrived in the area that would become Wilkes County in the late eighteenth century, before the Revolutionary War. For an excellent summary of the Joines family history and genealogy, see Eldon Joines’s web site at: http://familytreemaker.genealogy.com/users/j/o/i/Eldon-D-Joines/

178 Story No. 8 -- true tale, the most fully developed one in the film.

179 The name of a locally popular fiddle tune.

180 Story No. 9 -- true tale. The incident took place about1926. Frail was present and made up the story. The full name is Rufus Fletcher. There was a whole cycle of stories in the community concerning Rufe Fletcher, just as there were for other well-known eccentrics. Jim Jennings tells some of the same stories as Frail about Rufe, and some that are different.

181 Story No. 10 -- an incident that happened when Frail was about twenty. He either heard about the incident or heard it as a story.

182 A good example of the voice mimicry and song snatches with which Mr. Joines enlivens his tales.

183 A studio photograph from the Joines family album of Frail in uniform.

184 Story No. 11 -- personal narrative (Blanche).

185 Story No. 12 -- personal narrative (Blanche). The filmmaker and folklorists do not know that Blanche Joines and the Joines family never revealed the true story of why the community reacted so strongly to her mother"s divorce. This is a telling moment in the history of the relationship between filmmaker, folklorists and the people they are "documenting." Even Joyce Newman, who was a folklorist and the source of much of their information about the family, chose in this instance as in many others to put family loyalty over professional responsibility, and never revealed the true story. This kind of control by "informants" over what information they choose to reveal is indicative of the complexity of status and power relationships in situations of documentary filmmaking that filmmakers often do not recognize or acknowledge. Frail Joines used to recount to his family with great amusement the fact that filmmaker Tom Davenport was trying to get him to say things on film that would indicate an Oedipal relationship between him and his son, Jerry. Frail would say what he thought Tom wanted to hear up to a certain point when Tom was expecting what he wanted to hear, then Frail would suddenly reverse things and say the opposite, turning the tables on Tom and disappointing his expectations. Tom was never aware that this was deliberate. Such power dynamics, and the light it casts on the "authenticity" of documentation of one culture by another, should always be considered in assessing the "truth" of how a documentary filmmaker constructs the reality of other people and cultures. The Joines film benefited from the input of several members of the family and their interpretation of the people and events, but the story that results is still one constructed by what they chose to reveal.

186 She refers to a time in Winston-Salem when Frail"s gun fired accidently after he came in from hunting, the bullet passing through her hip as she stood at the ironing board. She was hospitalized and almost died from an allergic reaction to a tetanus shot. The police investigated Frail for the possibility of domestic violence.

187 Story No. 13 -- war story. Two episodes from a long account of the incompetence of the officers in charge of the field hospital at Commercy and irrationality of Army procedures preceding the Battle of the Bulge, and official decisions that violate reasonable thought and human decency. It is the themes of rationality and respect for other people that relate the war stories to the pre-war tall tales and humorous local character anecdotes, and indicates the cultural continuity of Frail"s response to his wartime experiences.

188 A jump cut to a later part of the account. The jump cuts show Blanche Joines, and her daughter Joyce responding to the stories. Laurel Horton was also present. Mr. Joines told the tales on request by Joyce.

189 Story No. 14 ---- comic war story. Though based on real experiences during the war, this story is formed on the model of the humorous local character anecdote that Frail used to create stories about his community.

190 Story No. 15 -- comic war story. This war story shares the underlying motif of traditional tall tales and humorous local character anecdotes: the violation of rational behavior.

191 The jump cut here omits these words: "And we radioed back to the head of the company, and we was about thirty miles away from anybody, and I think there was about 2,000 Germans come and give up to us. We beat guns, I beat -- take the gun by the barrel and knock the top off and then bend the barrel and throw them in a pile, and I had a pile of guns as big as this house."

192 Mr. Joines wrote Mrs. Joines every day, letters sometimes thirty pages long. She recalls that most, in which he tried telling her of things he had seen, were heavily censored -- the parts with disallowed information having been cut out, leaving only ragged fragments of pages. One arrived as scarcely more than a saluta-tion and signature.

193 These experiences gave him a new perspective from which to see life back home, and to evaluate his father"s destructive behavior within a much broader evil.

194 A jump cut, with omission of part of the account.

195 The parade photographs are from the personal photographs of Blanche Joines of a parade in North Wilkesboro after the war and from a collection assembled in Wilkesboro by local historian J. Jay Anderson. The filmmakers erroneously attributed all the photographs to the Anderson collection and returned them to him, and Mrs. Joines has never been able to recover her photographs. The silent-film footage was shot locally and shown in local theaters as a promotional device.

196 He is referring to the high gas prices at the time, when people were waiting in line at gas stations to purchase gas.

197 Census figures corroborate Mr. Joines"s assessment. Cleared farmland in Wilkes totaled 367,467 acres in 1925, but only 128,021 in 1974.

198 Two stanzas of "Groundhog." Though not active as a musician, Mr. Joines knew the local repertory and says that as a teen-ager he would after a day"s plowing walk in to the town movie singing most of the way without repeating a song. As he sings, the viewer sees photographs from the family album, illustrating the birth of the children and the passing of the years.

199 Those at the table include Carol, the Joineses" older daughter, and her baby, Joyce Newman, and Joyce"s friend folklore student Lau-rel Horton.

200 Story No. 16 -- true story (Blanche).

201 Mr. and Mrs. Joines are with their granddaughter. This is a traditional rhyme used they used to teach their children and now their grandchild the names of body parts.

202 Brown Osborne, a member of a local land-owning family, is surveying land for summer houses and suburban develop-ment.

203 Frail Joines bred this variety of corn himself.

204 Story No. 17 -- religious narrative. Mrs. Joines"s illness followed a period of several years when she was under much stress -- trying to establish a florist shop in the small village of Moravian Falls, despite competition from two other florists in Wilkesboro and North Wilkesboro and the withdrawal of her financial partner, and never receiving any pay for her work over a period of four years. In addition, she took on the extra responsibility of taking care of Mr. Joines"s father, who came to live with the family when he had no other place to go. When he departed, Mrs. Joines"s mother and then also Mr. Joines"s mother came to live with the family in their small, three-bedroom home, altering the family dynamics and limiting their social activity within the community. Mrs. Joines eventually became exhausted and would cry on the way to work and on the way home due to the overwhelming demands on her time and energy; eventually, she was diagnosed as having congestive heart failure. He mispronounces the medical term "emphysema."
On the same Sun-day morning in 1971 Mrs. Joines experienced healing of her heart and Mr. Joines simultaneously had a conversion experience. We give some of the background as each recalls it and inter-weave their accounts to give the viewer a sense of how each experienced the moment. Each interview of course gave a full account made up of both explanation and a sequence of narrative epi-sodes. Filmed in 1975.

205 Jump cut to a later point in the narrative.

206 Filmed in 1979.

207 Story No. 18 -- religious narrative (Blanche).

208 Story No. 19 -- religious narrative. Notice that the format is much longer than some of his earlier tall tales and humorous local character anecdotes, but this narrative still has much in common with those two forms. He gives enough detail of the location and people involved to orient the listener, builds the story to a dramatic climax, and this portion of the narrative ends with a humorous punch line.

209 A jump cut.

210 Story No. 19 -- religious narrative. When it happened, this event stirred Mr. Joines"s recollection of a similar experience in his childhood. In an automobile accident he had been badly cut in the back of the neck. While in surgery, he had come out of his body and watched the operation from high above the table.

211 Story No. 20 -- religious narrative, a second out-of-the-body experience.

212 A "Sons of God" service in the Faith in Jesus Tabernacle, a non-denominational chapel in neighboring Caldwell County.
"The hand is an important element in all services: it is raised during praise and prayer; it is a conveyer of power and knowledge during the healing and prophesying; it is the base of the meta-phors such as "the Lord touched me."" Mr. Joines" s hands develop deep wrinkles when he is "filled with the spirit." Each physical event has a spiritual basis, and each spiritual event is manifested in the physical world (Newman, 1972: 16-17).
In the first reaction to their powerful religious ex-periences, Mr. Joines fre-quently testified publicly about them, as he describes here. While he continues to witness at the direction of the Spirit, he now usually does so only to persons disposed to hear the message, and the Spirit has led him beyond condemnation.

213 Although many of the other speakers have adopted a chanting style of delivery for their testimonies, punctuating their thoughts with formulaic phrase such as "Glory to God" or "Hallelujah," Mr. Joines retains more of the rhythms and straightforward delivery of his storytelling style.

214 From evangelist Bill Britton the Sons of God have obtained a booklet, Songs for Eagle Saints, and cassette tapes of the songs in it. But many songs in use are locally com-posed or, like this short chorus, of unknown origin.

215 Story No. 21 --religious narrative (Blanche).

216 Story No. 22 -- personal narrative.

217 As Mrs. Joines"s health declined and their children went away to school, the Joineses stopped gardening. They began again as the children finished their schooling and started to move back to Wilkes County. But the gardening also coincides with their religious experi-ence. It was in 1975 an extremely large garden, and a joint effort. It seems to symbolize the overflowing creative energy that the experience had released with-in them -- our reason for selecting this footage to accompany their affectionate, teasing recollections of their wedding for the closing of the film.

226 Frail"s grandfather Peter Joines married Lorina Meredith of Roan Mountain, Tennessee, on November 7, 1874; her brother was Nick Meredith, who married Peter’s sister Martha Joines. Their sister Nancy Lou Meredith married Frail"s grandfather"s brother, Willis Wesley Joines. The Merediths were half Cherokee. The Joines family arrived in the area that would become Wilkes County in the late eighteenth century, before the Revolutionary War. For an excellent summary of the Joines family history and genealogy, see Eldon Joines’s web site at: http://familytreemaker.genealogy.com/users/j/o/i/Eldon-D-Joines/