Uploaded November 2020 | Updated September 2026, 6 days ago
Day 249 of the American Songbag Stay-at-Home Series"
Why is this song in Sandburg's "Lumberjacks, Loggers, and Shanty-Boys" chapter. At first glance it does not fit. Many lumberjacks were of Irish descent and brought their songs with them, which is way this song has ended up in many logging collections.
Sandburg writes: "A biography titled "Life of John Morrissey, the Irish Boy Who Fought His Way to Fame and Fortune" tells about a prize fighter, gambler, politician who became state senator and Member of Congress. His big fights were in the 1850’s and he defeated Thompson, the Yankee Clipper, the Benicia boy, in the squared circle, as related in this song. He was a "Paddy and a ring hero, too, as related. But sporting authorities consulted on the point fail to find that he ever planted his knuckles in a Russian sailors face nor fought any such thirty-eight-round contest as here described. Yet the song delivers the atmosphere of the old-time bare-fisted ring fight.
"It is presented here as sung by M. C. Dean, of Virginia, Minnesota, author of "The Flying Cloud," a collection of lumberjack and Great Lakes songs and American ballads. On the currency of this and similar ballads Franz Rickaby wrote this eloquent and informative note: "In the logging camp the hegemony in song belonged to the Irish. Although the Scotch and French-Canadian occur occasionally, the Irish were dominant, and the Irish street-song was the pattern upon which a liberal portion of the shanty-songs were made. Irishmen sailed the seas of the world. In the armies of England they fought against Russia and died on the fields of Indian insurrection. In Canada and the United States, whither they migrated in hordes, they fought wherever there was fighting. And in this New World those of them who were thrifty and provident laid foundations of homes; and those who were not, didn't. But whatever they did, they made and sang songs; and wherever they went roving, they took them along. Thus it was that the shanties rang with songs of ships and piracy, of American battle charges, and of prize-fights in far-lying ports of the world; of charging the heights of Alma, of dying in India for Britannia and Britannia's Queen, and of sailing the lakes with red iron ore of all these, as well as of harvesting the mighty pine."
FURTHER NOTE: John Morrissey was born in Ireland in 1831 but was raised in New York and apparently went to California at the time of the Gold Rush. In 1852 he gained fame as a boxer by defeating George Thomson. The climax of Morrissey's career came in 1858, when he defeated champion John C. Heenan and promptly retired. In the years that followed his gambling resort in Saratoga Springs proved very successful, and Morrissey was twice elected to congress. He died in 1878.
Day 249 of the American Songbag Stay-at-Home Series"
Why is this song in Sandburg's "Lumberjacks, Loggers, and Shanty-Boys" chapter. At first glance it does not fit. Many lumberjacks were of Irish descent and brought their songs with them, which is way this song has ended up in many logging collections.
Sandburg writes: "A biography titled "Life of John Morrissey, the Irish Boy Who Fought His Way to Fame and Fortune" tells about a prize fighter, gambler, politician who became state senator and Member of Congress. His big fights were in the 1850’s and he defeated Thompson, the Yankee Clipper, the Benicia boy, in the squared circle, as related in this song. He was a "Paddy and a ring hero, too, as related. But sporting authorities consulted on the point fail to find that he ever planted his knuckles in a Russian sailors face nor fought any such thirty-eight-round contest as here described. Yet the song delivers the atmosphere of the old-time bare-fisted ring fight.
"It is presented here as sung by M. C. Dean, of Virginia, Minnesota, author of "The Flying Cloud," a collection of lumberjack and Great Lakes songs and American ballads. On the currency of this and similar ballads Franz Rickaby wrote this eloquent and informative note: "In the logging camp the hegemony in song belonged to the Irish. Although the Scotch and French-Canadian occur occasionally, the Irish were dominant, and the Irish street-song was the pattern upon which a liberal portion of the shanty-songs were made. Irishmen sailed the seas of the world. In the armies of England they fought against Russia and died on the fields of Indian insurrection. In Canada and the United States, whither they migrated in hordes, they fought wherever there was fighting. And in this New World those of them who were thrifty and provident laid foundations of homes; and those who were not, didn't. But whatever they did, they made and sang songs; and wherever they went roving, they took them along. Thus it was that the shanties rang with songs of ships and piracy, of American battle charges, and of prize-fights in far-lying ports of the world; of charging the heights of Alma, of dying in India for Britannia and Britannia's Queen, and of sailing the lakes with red iron ore of all these, as well as of harvesting the mighty pine."
FURTHER NOTE: John Morrissey was born in Ireland in 1831 but was raised in New York and apparently went to California at the time of the Gold Rush. In 1852 he gained fame as a boxer by defeating George Thomson. The climax of Morrissey's career came in 1858, when he defeated champion John C. Heenan and promptly retired. In the years that followed his gambling resort in Saratoga Springs proved very successful, and Morrissey was twice elected to congress. He died in 1878.

![Jungle Nonsense Lullaby
Day 283 of the American Songbag Stay-at-Home Series
Ah yah, tair um bam, boo wah, Kee lay zee day, Nic o lay, mah lun dee. Nic o lay ah poot a way, Nic o lay ah wah mee Ah yah, tair um bam, boo wah, Kee lay zee day, Nic o lay, mah lun dee.
Margaret Johnson of Augusta, Georgia, heard her mother sing this, year on year, as the mother had learned it from the singing, year on year, of a nanny who comforted children with it. The source of its language may be French, Creole, Cherokee, or mixed. [Or in the case of this recording, pure nonsense.] The syllables are easy for singing; so is the tune.
[sorry! no captions for obvious reasons.] Jungle Nonsense Lullaby](https://i.ytimg.com/vi/NvJh3Zjg-D8/mqdefault.jpg)



![There Are No Lice On Us
Sandburg writes: Singing [this] to make the syllables fit into the tune of America is more fun than crossword puzzles or writing sonnets about sin or triolets about violets.
There are no lice on us,
There are no lice on us—
No lice on us.
There may be one or two
Great big fat lice on you,
There are no lice on us—
No lice on us. There Are No Lice On Us](https://i.ytimg.com/vi/Oi4gugJd3uQ/mqdefault.jpg)

![If I Die a Railroad Man
Day 223 of the American Songbag Stay-at-Home Series
O Lord, let it rain,
Wet my little dress!
So that corn will be cheaper And I can fill my belly!
Sandburg writes: This translation from hieroglyphics on an ancient Egyptian temple is among the oldest known songs of working people. It is not a far cry from such lines to the replies of a witness before the industrial relations commission, who told the commissions examiner, Frank P. Walsh, that he and other railroad men had at a certain time been sitting and talking. What were you talking about? Oh, just railroad talk. Anything particular in railroad talk. No, just railroad talk. Well, could you tell us just what you mean by railroad talk? Oh whiskey and women and higher wages and shorter hours.. . . .
The lyric here is [a black and Anglo-Saxon] blend in its making; it was heard at the University of Kentucky; the young man who sang it said the notes are sometimes blued and it is then called The Louisville & Nashville Blues. If I Die a Railroad Man](https://i.ytimg.com/vi/P-sayFyVHvg/mqdefault.jpg)


![Telephone Book
Sandburg writes: When Folk-Say was published by the University of Oklahoma it included poems by Waring Cuney, a Black poet, [a part of the Harlem Renaissance] whose lines have simplicity that often goes with folk songs. Albert Hague has given a tune and an arrangement to two of the modern Cuney lyrics. Why shouldnt there be a song about the telephone book? Deftly the Cuney lines bring out that there can be moments when all the names in the phone book from A to Z are no use to you except a single precious one.
William Waring Cuney (May 6, 1906 – June 30, 1976) was a poet of the Harlem Renaissance. He is best known for his poem No Images, which has been widely anthologized. Although his work was largely forgotten in the United States by the 1950s, it was translated into German and Dutch and developed a following in Europe. He published only two volumes of poetry in his lifetime: Puzzles, a limited edition published in the Netherlands in 1960, and Storefront Church, published in London in 1973. He died in New York City on June 30, 1976. Telephone Book](https://i.ytimg.com/vi/PQyuTqFdyA8/mqdefault.jpg)