Uploaded September 2020 | Updated September 2026, 6 days ago
Day 182 of the American Songbag Stay-at-Home Series (One Half of a Year!)
OK. I cheated on this one. I could not fit the English into the tune, so it's a story song. Best I could do.
Here's more info behind the story:
Sandburg writes: "In the year 1900, Encarnación Garcia waylaid and killed another Mexican in Cameron County. Montalgo, a Mexican deputy sheriff, rode up on Encarnacion as the latter was burying his victim. Encarnacion resisted arrest, or at least Montalgo always so claimed, and Montalgo killed him. Ten years later to a day, Encarnacion’s gente got their revenge by killing Montalgo."
"Thus Frank J. Dobie, of the Texas Folklore Society, gives in brief the facts leading to this ballad in its opening verses. As to the closing stanzas he notes, "Sandoval had a little ranch and herded goats. He sang this song to rny brother and presumably had composed it, certainly the last three stanzas. Sandoval came up to the Granjeno gate while the crowd were viewing the rests of Montalgo. Hinojosa, a deputy sheriff from Brownsville, came up, did nothing about the murder but arrested poor old Sandoval for killing the venadites" . . .
“These people of Manoa” refers to a family of Mexicans that owned a little ranch near by; they were in sympathy with the sisters of the murdered Montalgo; authorities at Brownsville deputized the head of the Manoa family to act as sheriff. . . . Edal in the first stanza "seems to be a Mexicanisrn not recorded in the dictionaries," Dobie notes. Almazan is a ranch west of Lyford. El puerto (masculine) is irregularly used for la puerta (feminine) in the fourth and sixth stanzas; there seems to be authority for such interchange of usage in Spanish manuscripts dating as far back as 1760. . . .
""Versos" Dobie also notes, "as understood and used by Texas Mexicans, are songs or verses, of folk composition in contradistinction to canciones* songs derived from more or less literary purveyors, though cannon (song or ballad) is also frequently applied to verses of local composition. For Versos de Montalgo I am indebted to my brother, Elrich H. Dobie, who learned them while he was caporal (boss of a cow outfit) on the King Ranch in South Texas,1916-1917. He says the vaqueros frequently made up songs on local happenings. A white maverick bull killed two or three horses and had to be shot. A Mexican made up a song on the subject and for awhile it was widely sung by the King Ranch Mexicans. A raid, a killing, a ladino (outlaw) horse or steer, a stampede, a daring rider these are characteristic themes for vaquero improvisation.” . . .
"The following is one of several stories of Lost Ballads that Frank Dobie tells: "In the summer of 1921, I was with Captain Will Wright's rangers, when they raided a band of tequila smugglers on the Nueces River in La Salle County. It was an interesting raid; one smuggler had to be killed and over a thousand quarts of tequila were captured. I am told that a very long song was composed on the subject, in which certain gringos, including myself, are not very well spoken of. Much to my disappointment, I have been unable to hear the song or secure a copy of it."
Day 182 of the American Songbag Stay-at-Home Series (One Half of a Year!)
OK. I cheated on this one. I could not fit the English into the tune, so it's a story song. Best I could do.
Here's more info behind the story:
Sandburg writes: "In the year 1900, Encarnación Garcia waylaid and killed another Mexican in Cameron County. Montalgo, a Mexican deputy sheriff, rode up on Encarnacion as the latter was burying his victim. Encarnacion resisted arrest, or at least Montalgo always so claimed, and Montalgo killed him. Ten years later to a day, Encarnacion’s gente got their revenge by killing Montalgo."
"Thus Frank J. Dobie, of the Texas Folklore Society, gives in brief the facts leading to this ballad in its opening verses. As to the closing stanzas he notes, "Sandoval had a little ranch and herded goats. He sang this song to rny brother and presumably had composed it, certainly the last three stanzas. Sandoval came up to the Granjeno gate while the crowd were viewing the rests of Montalgo. Hinojosa, a deputy sheriff from Brownsville, came up, did nothing about the murder but arrested poor old Sandoval for killing the venadites" . . .
“These people of Manoa” refers to a family of Mexicans that owned a little ranch near by; they were in sympathy with the sisters of the murdered Montalgo; authorities at Brownsville deputized the head of the Manoa family to act as sheriff. . . . Edal in the first stanza "seems to be a Mexicanisrn not recorded in the dictionaries," Dobie notes. Almazan is a ranch west of Lyford. El puerto (masculine) is irregularly used for la puerta (feminine) in the fourth and sixth stanzas; there seems to be authority for such interchange of usage in Spanish manuscripts dating as far back as 1760. . . .
""Versos" Dobie also notes, "as understood and used by Texas Mexicans, are songs or verses, of folk composition in contradistinction to canciones* songs derived from more or less literary purveyors, though cannon (song or ballad) is also frequently applied to verses of local composition. For Versos de Montalgo I am indebted to my brother, Elrich H. Dobie, who learned them while he was caporal (boss of a cow outfit) on the King Ranch in South Texas,1916-1917. He says the vaqueros frequently made up songs on local happenings. A white maverick bull killed two or three horses and had to be shot. A Mexican made up a song on the subject and for awhile it was widely sung by the King Ranch Mexicans. A raid, a killing, a ladino (outlaw) horse or steer, a stampede, a daring rider these are characteristic themes for vaquero improvisation.” . . .
"The following is one of several stories of Lost Ballads that Frank Dobie tells: "In the summer of 1921, I was with Captain Will Wright's rangers, when they raided a band of tequila smugglers on the Nueces River in La Salle County. It was an interesting raid; one smuggler had to be killed and over a thousand quarts of tequila were captured. I am told that a very long song was composed on the subject, in which certain gringos, including myself, are not very well spoken of. Much to my disappointment, I have been unable to hear the song or secure a copy of it."

![Poor Kitty Popcorn
Day 265 of the American Songbag Stay-at-Home Series
Sandburg writes: “A tragic little ballad of the Civil War which we children cried over many times. I recall it only in fragments, the story of a cat that joined a regiment of soldiers marching south. She perished in the snow on the grave of the one to whom she had become most attached. ”
Thus the history of this verse from Neeta Marquis who as a girl grew up in Tennessee.
ADDITIONAL INFO: Poor Kitty Popcorn, one of the many songs written by American composer Henry Clay Work (1832-1884), spins a grand tale of the loyal bond formed between a Union soldier and his pet cat, Popcorn, during the Civil War.
The song Poor Kitty Popcorn, in spite of its overly dramatic rendering in song and in the vivid before and after scene engraved on the cover of the sheet music, might have some true elements to the story. The life of a soldier can be lonely, alternating tedium with terror, and the affection of a pet can offer much solace and amusement, creating a bond that can continue long after deployment is over. . . . The notion of a pet cat accustomed to riding along perched on a soldier’s knapsack hardly seems so fanciful.
Henry ClayWork was a prolific writer of words and music, whose songs Grandfather’s Clock and Marching Through Georgia (inspired by Major General William Tecumseh Sherman’s 1864 campaign)[ed. note: as well as The Ship That Never Returned, also in Sandburgs Songbag]are still familiar today. An ardent abolitionist who nonetheless wrote a number of songs for blackface minstrel groups, Work used his talents to celebrate American patriotism and the achievements of the Union Army.... (from Diane Shaw, Smithsonian Libraries Unbound) Poor Kitty Popcorn](https://i.ytimg.com/vi/idEMKTSgGY4/mqdefault.jpg)








![When the Curtains of Night are Pinned Back
Day 162 of the American Songbag Stay-at-Home Series
This begins the Great Open Spaces.
Sandburg writes: The cowboys of Colorado took a garrulous popular song of the 1870s (Ill Remember You, Love, in my Prayers), and kept a fragment, the hearts essence of it.
It is impressive when sung by a lone horseman silhouetted against a distant horizon. Given any where with ease, feeling, control, it may leave echoes as thin and air- hung as certain apparitions of a clear nights sky of stars. That is, it holds an honest and independent poetry. . . .
Text and tune are from Jane Ogle of Rock Island, Illinois.
NOTES from the Traditional Ballad Index: Hazel Fellemans 1936 book The Best Loved Poems of the American People, p. 32, has a long version of this with the title Ill Remember You, Love, in My Prayers. That version looks very composed, but she lists no author. It appears, however, that the original was by the well-known composer Will S. Hays. The first sheet music printing was apparently titled Ill Remember You [Love] in my prayers. - RBW When the Curtains of Night are Pinned Back](https://i.ytimg.com/vi/mWF3hNG8s54/mqdefault.jpg)