Thanks, Gibb. This goes a long way in smoothing out some of my rougher edges. My remaining question about this has to do with the version, which seems to have been introduced by Odetta if we go by recording history, that introduces (?) the "Way out in Californio" refrain. This seems to me to be a re-working of the Lomax/Hunt version. Of course, it would make sense historically that with the Gold Rush of 49 following immediately on the heels of the Mexican War, the "Santiana" song would be adapted by the 49'ers. However, it is *my sense* that this adaptation didn't really happen until a 100 years later! Along about 1954 or so. There are two "gold rush" verses in the Lomax/Hunt version. But Odetta & Co. seem to shift the whole song in that direction.

This is really my primary concern with regard to my own project here. I can find no evidence for such a focus on California in the earlier printed versions. Nor is there support in any of Hugill's versions for this shift of perspective. In other words, I don't think I can count this *version* of this song - the "Bound to Californio" version - as a likely candidate for the "Julia Ann".

I think I am moving towards agreement with you about the tunes though. As I begin to more carefully sort out all of the styles and instrumental stuff and particularly the speeds, I think the shapes of the tune pretty much cohere. Your (Hugill's "b") is a very nice exception. Back when I was looking at "whaling chanties" I missed this reference from Hugill. I do remember Colcord referring to "Santiana" being what was sung on "the last whale ship's last voyage" somewhere.

Which reminds me, my sense of the early use of chanties prior to 1850 is that they *were* being used and circulated by the whalers in some form. That seems to have been the primary source for their distribution in the Pacific early on. And yet they don't show up in the whaling journals that I am know about.