was developed and publicized by John Jeremiah Sullivan in The New York Times in 2014. McCormick told Sullivan that he had visited Wiley's former home and spoken to members of her immediate family when he was conducting fieldwork in Oklahoma in the 1950s. McCormick also interviewed Wiley's recording partner, L. V. "Elvie" Thomas, in Texas in 1961. Thomas began performing with Wiley in the early 1920s and remembered her as Lillie Mae Wiley; she claimed to have given Wiley her nickname. The nickname "Geechie" (spelled in various ways) was common among people from around coastal South Carolina and Georgia (it is also an alternate name for the Gullah ethnic group of that region), but more generally was an affectionate nickname for a young woman of rural origins in the American South. Thomas said that a few years before the interview (that is, in the 1950s) she had heard that Wiley was living in West Texas. Later research reported by Sullivan suggests that Wiley was born in Louisiana on November 14, 1908, and that she was the same Lillie Mae Scott who stabbed her husband, Thornton Wiley, to death in Houston in 1931. Wiley was nonetheless performing again with Thomas about 1933, on their last tour together. According to McCormick, Thomas said, "I haven’t seen [Wiley] since 1933. I left her in Chico, Oklahoma [presumably Checotah]. ... We’d gone out playing around together, traveling, and I left her up there and came on back." Sullivan also spoke to a Houston musician, John D. "Don" Wilkerson, who claimed to remember Wiley and "implied that there was something funny about her background. He said that she'd been 'maybe Mexican or something.'” According to researcher Caitlin Love, who worked with Sullivan, Lillie Mae Wiley ( Boone) died from a head injury in 1950, and was buried with her mother Cathrine Nixson in Brushy Cemetery in Burleson County, Texas. Legacy "Last Kind Words", "Motherless Child Blues", "Skinny Legs Blues", and "Pick Poor Robin Clean" are included on the compilation album Mississippi Masters: Early American Blues Classics 1927–35 (Yazoo Records, 2007). In the documentary film Crumb (1994), by Terry Zwigoff, the artist Robert Crumb plays Wiley's recording of "Last Kind Words Blues" and sits down to listen as a sequence of his cartoons is shown. "Last Kind Words Blues" has been covered by several other artists: David Johansen and the Harry Smiths covered it on their