Endnotes
[i] Doucet, Michael, interviewed by Mark Dewitt. Classroom Conversation with Michael Doucet and Mark Dewitt Lafayette, LA: Center for Louisiana Studies and Tommy Comeau Endowed Chair, (March 1, 2011).
[ii] Brasseaux, Carl A. Acadian to Cajun: Transformation of a People, 1803-1877. Jackson, MS: University Press of Mississippi, 1992, xi-xii.
Defining Terms
[i] Toelken, Barre. The Dynamics of Folklore: Revised and Expanded Edition. Logan, Utah: Utah State Univ. Press, 1996, 277, 294.
[ii] Elliot, David J. "Music as Culture: Toward a Multicultural Concept of Arts Education." Journal of Aesthetic Education (University of Illinois Press) 24, no. 1 (1990):153.
[iii] Dormon, James H. The People Called Cajuns: An Introduction to an Ethnohistory. Lafayette, LA: Center for Louisiana Studies, University of Southwestern Louisiana, 1983, 36; Bernard, Shane K. The Cajuns: Americanization of a People. Jackson: University Press of Mississippi, 2003,146-150.
[iv] Del, Sesto, Steven L, and Jon L. Gibson, editors. The Culture of Acadiana: Tradition and Change in South Louisiana. Lafayette, LA: University of Southwestern, Louisiana, 1975, 3. The Acadiana parishes consist of 22 parishes: Acadia, Ascension, Assumption, Avoyelles, Calcasieu, Cameron, Evangeline, Iberia, Iberville, Jefferson Davis, Lafayette, Lafourche, Pointe Coupée, St. Charles, St. James, St. John, St. Landry, St. Martin, Terrebonne, Vermilion, West Baton Rouge.
[v] Brasseaux, Carl A. French, Cajun, Creole, Houma: A Primer on Francophone Louisiana. Baton Rouge: Louisiana State University Press, 2005, 88-89.
Twentieth Century
[i] Ancelet, Barry Jean. "Negotiating the Mainstream: The Creoles and Cajuns in
Louisiana." The French Review 80, no. 6 (2007):1240. To redefine, Afro-Creole is the culture of those that practiced the combined cultures of French, African, and the Caribbean.
[ii] Ancelet, Barry Jean. Cajun Music: Its Origins and Developments. Lafayette: Center for Louisiana Studies, 1989., 21. It was during this time that the Europe’s Enthomusssciology started to include of folksong and folk music. Pegg, "Folk music," 64-65. Doucet, Michael, Classroom Conversation with Michael Doucet and Mark (March 1, 2011). In American this study would reach its height after World War II in the US Folk Music Revival Record companies would record local artists knowing that those in their communities would want to buy their records and therefore obtain a record player as well.
The Beginnings
[i]Brasseaux, Ryan A. Cajun Breakdown: The Emergence of an American-Made Music. Oxford: Oxford University Press, 2009, 49-50.
[ii]Savoy, Ann. Cajun Music: A Reflection of a People. Vol. 1. Eunice, LA: Bluebird Press, 1984, 93. Brasseaux, Cajun Breakdown, 49. Broven, South to Louisiana, 16.
[iii]Brasseaux, Cajun Breakdown, 50.
[iv] Ancelet, Cajun Music: Its Origins and Developments, 20.
[v] McGee, Dennis, interview by Barry Jean Ancelet. Interview with and musical
performance with Dennis McGee Eunice, LA: Center for Louisiana Studies,
(April 3, 1977): AN1-019.
[vi] Bernard, Shane, and Julia Girouard. "Colinda: Mysterious Origins of a Cajun Folksong." Journal of Folklore Research 29, no. 1 (1992): 41-42.While the lyrics resemble nothing from McGee’s and Courville's song, they are similar to lyrics of “Pine Grove Blues” recorded by Nathan Abshire from 1949 that has the tune from Columbus Frugé’s song “Tite Negresse,” showing at once the mixing of the cultures Cajun and Afro-Creole.
New Styles
[i] Broven, John. South to Louisiana: The Music of the Cajun Bayous. Gretna: Pelican Publishing Co., 1992,102. Ancelet, Barry Jean. "Cajun Music." The New Encyclopedia of Southern Culture: Volume 12: Music (University of North Carolina Press) 12 (2008): 40. The accordion also faded from view because with Germany at war with U.S.'s and its allies, there was no new supply of accordions coming into the country.
[ii] Brasseaux, Cajun Breakdown, 91.
[iii] Ancelet, "Cajun Music," 39. Sandmel, Ben. "The Treasured Traditions of Louisiana Music." Louisiana Folk Life. 2003. http://www.louisianafolklife.org/LT/Articles_Essays/treas_trad_la_music.html (accessed 2018).
[iv] Doucet, Michael, Interview of Michael Doucet by Mark, (March 11, 2011). Brasseaux, Cajun Breakdown, 101.
[v] Brasseaux, Cajun Breakdown, 86.
The Comeback
[i]Broven, South to Louisiana, 29.
[ii] Bernard, The Cajuns,15-16. Theriot, Jason P. "Cajun Country during World War II." Louisiana History: The Journal of the Louisiana Historical Association 51, no. 2 (2010): 147.
[iii] Brasseaux, French, Cajun, Creole, Houma, 75-77.
[iv] Brasseaux, French, Cajun, Creole, Houma, 181.
[v] Broven, South to Louisiana, 30. Box guitars originally appeared in the1800s and were made from empty cigar boxes but by the mid-1900s it was just the type of shape for a guitar. Savoy, Ann. "Cajun Music: Alive and Well in Louisiana." Louisiana Folk Life.1990.http://www.louisianafolklife.org/LT/Articles_Essays/creole_art_cajunmusic_aliv.html (accessed 2018).
[vi] Broven, South to Louisiana, 183.
[vii]Brasseaux, Cajun Breakdown, 191.
[viii] Broven, South to Louisiana, 53.
The Revival
[i] Ancelet,. Cajun Music: Its Origins and Development, 32.
[ii] Ancelet,. Cajun Music: Its Origins and Development, 34. The tune, however, comes from Amedee Breaux's (Breaux Brother Family Band) song "Blues du ‘Tit Chien" ("Little Dog Blues;"1934), a song of prostitution but with similar lyrics to Abshire's.
Zydeco
[i]Broven, South to Louisiana, 101-102.
[ii] See note above. The piano accordion used keys to reach a wider range of harmonizing notes as the diatonic accordion had buttons that limited the scales of notes used.
[iii] Broven, South to Louisiana, 104-105.
[iv] Broven, South to Louisiana, 110-111. Scouted as a boy in 1954 Lake Charles by J.R. Fulbright from Los Angeles.
Swamp Pop
[i]Bernard, Rod, interview by John Broven. Interview with Rod Bernard (Side A) Lafayette and Rayne, LA: Center for Louisiana Studies and John Broven, (August 21, 2006): BR2.006.1. “Hillbilly” sounds are now called “rockabilly” as it is based in hillbilly but with undertones of rock. Broven, South to Louisiana, 179.
[ii] Sandmel, Ben. "The Treasured Traditions of Louisiana Music."
[iii]Broven, South to Louisiana, 182-183. Broven, Charles, Bobby, interview by John Broven. Interview with Bobby Charles (Part 1) Abbeville, LA: Center for Louisiana Studies and John Broven, (October 15, 1987): BR2.007.1. Charles, Bobby, interview by John Broven. Interview with Bobby Charles (Part 2) Center for Louisiana Studies and John Broven, (October 15, 1987): BR2.007.2.Bobby Charles was a stage name for Robert Charles Guidry, who was also known as a songwriter before his hit.
[iv]Bernard, Rod, interview by John Broven. Interview with Rod Bernard (Side A) Lafayette and Rayne, LA: Center for Louisiana Studies and John Broven, (1979): BR2.006.1.
[v] It is not discussed why “Sea of Love” (in South to Louisiana: The Music of the Cajun Bayous or Jolivette’s interview) was not popular in Louisiana but my guess was the tempo was a little slower to dance to than “Mathilda;” See Broven, John. South to Louisiana: The Music of the Cajun Bayous, 189.
[vi] Bernard, Rod, interview by John Broven. Interview with Rod Bernard (1) Lafayette, LA: Center for Louisiana Studies and John Broven, (April 25, 1979): BR2.005.1.
[vii]Jolivette, Bernard, interview by John Broven. Interview with Bernard "King Karl" Jolivette Church Point, LA: Center for Louisiana Studies and John Broven, (1987): BR2.012.1.
Cajun Culture and Music
[i]Bernard, The Cajuns, 60; King, Earl, interview by John Broven. Interview with Earl King New Orleans, LA: Center for Louisiana Studies and John Broven, (May 5, 1979): BR2.011.
[ii] Ancelet,. Cajun Music: Its Origins and Development, 37; Ancelet, The Makers of Cajun Music, 121.
[iii] See notes above.
[iv] See notes of Ancelet above. Balfa, Dewey, Interview with Dewey Balfa Basile, (January 1, 1981).
[v] Broven, South to Louisiana, 281.The rock sounds of the Beatles became favorite tunes to dance to, as the Nashville Sound was the new genre of country music that was replacing the honky-tonk sounds to compete with rock’n’roll in the late 1950s.
[vi] Bradshaw, Jim. “Cajun Music has Gone Through Many Changes.” Country music, roots from British folk music traditions (reels, jigs, breakdowns and ballads), merged into Bluegrass, a now popular genre that Cajuns enjoy as it keeps the traditional styles with some influences of Jazz and was the only music genre that was able to compete against the Beatles’ rock style.
[vii] Guenin-Lelle, Dianne and Alison Harris. "The Role of Music Festivals in the Cultural Renaissance of Southwest Louisiana in the Late Twentieth Century." Louisiana History: The Journal of the Louisiana Historical Association (Louisiana Historical Association) 50, no. 4 (2009): 465.
[viii] Guenin-Lelle, Dianne and Alison Harris. "The Role of Music Festivals," 469.
[ix] Savoy, Ann. "Cajun Music: Alive and Well in Louisiana."
[x] Ancelet. Cajun Music: Its Origins and Development, 39-40.
CODOFIL and Cajun Music
[i]Bernard, Shane K. The Cajuns, 87 and 137-138. “Age of the Ethnicity” was after the counterculture movement (against Anglo-conformism) in that it was a movement that demanded rights to ethnic cultures and minorities The country and Louisiana government would not recognize Cajuns as a minority culture until 1880 with court case Roach v. Dresser on job discrimination.
[ii] Bernard, Shane K. The Cajuns,133-121.
[iii] Trépanier, Cécyle. "The Cajunization of French Louisiana: Forging a Regional Identity." The Geographical Journal 157, no. 2 (1991): 162
[iv] Bernard, The Cajuns, 125-126.
[v] Broven, South to Louisiana, 289-290. There are however those that feel that CODOFIL is still pushing the French influence more than the Cajun's and should leave it alone.Bernard, The Cajuns, 127; Trépanier, Cécyle. "The Cajunization of French Louisiana," 165-166.
[vi] Ancelet,. The Makers of Cajun Music, 95. Bernard, The Cajuns, 72.
Contemporary Era
[i] Broven, South to Louisiana, 291.
[ii] Broven, South to Louisiana, 291.
[iii] Bernard, The Cajuns, 134-135.
[iv] Ancelet,. "Negotiating the Mainstream,"1243.
[v] Simpson, David. “A Brief History of Cajun, Creole, & Zydeco Music.” http://www.downtowncajunband.nl/sitewillem/Acadiana%20Gateway/music/history.htm.html (accessed January 2019).
[vi] Music KDG Design. Wayne Toups Bio. 2019. http://www.waynetoupsmusic.com/bio/ (accessed January 2019).
[vii] See note above.
[viii] Simpson, David. “Wayne Toups and Zydecajun.” https://web.archive.org/web/20070416072316/http://www.lsue.edu/acadgate/music/toups.htm