Center for Louisiana Studies Archival Catalog
This searchable database provides information on images, documents, and audio and video recordings, made between 1934 and the present.
CRIA (Cutural Research Institute of Acadiana)
Cultural Research Instuite of Acadiana - CRIA was started in 2007. It is a non-profit organization that collects information, knowledge and seeds in order to teach how to live sustainably in South Louisiana. The organization wants to reach those who do it before they are all gone and the information/knowledge is lost.
Acadian seed bank is a bank of heirloom open pollinated seeds that are collected from people that have kept the strain of the seed going for at least five years. These are the seeds of our heritage. The many different cultures of South Louisiana can’t be sustained without sustainability as in the agriculture and life style. Once we become depended on outside sources that decreases our chances of sustaining our own culture. We must look into our agriculture and things related to it. An online database is going to be created to share the information obtained from the seed and knowledge donors.
(8:00): Agricultural knowledge of South Louisiana has been passed on for generations. One of the goals of the seed bank is to grow out shared seeds and multiply them so they can be given to others. The ultimate goal is that seeds can become a food source.
(11:28): Agriculture’s place in our culture is connected to every walk of life. A lot of music has been created in the fields and kept alive there.
(12:43): Japanese farmer (Fukueka) in his book "The One Straw Revolution" said that with the seeds from one straw of rice you could create enough food to feed the world. In addition to the rice, he had several other crops he grew. To have sustainability you also need diversity. You can’t put all your eggs in one basket. Acadian Seed Bank’s goal is to have a diverse collection of seeds to distribute to the community.
(16:19): We have gathered 16 seeds to date. To have a diverse model is our goal. This year we are focusing on collecting seeds. Next year it will be growing out the seeds. Michot returned to Lydia after 10 years to meet the people who had started his collecting.
(21:24): Kristen Kordecki discussed open pollinated plants: can be pollinated by wind, animals, water, by hand or natural occurrences. Open pollinateds are true to type and have the characteristics of both parents. Open pollinated plants are not genetically modified or hybridized.
(23:46): Heirloom seeds are handed down from generation to generation: Produce not suited for large scale production; taste better, look funny and many have a longer growing period; adapted to environment. They are passed down in families and are a critical food source is bad times.
(25:53): One of the things making this project so unique is that we are losing the genetic diversity as heirloom seeds disappear with our elders. Heirlooms can be a local food source. They can preserve a unique genetic fingerprint in Acadiana.
(27:38): Ask to determine if seeds or plants are heirloom, record information. Take photographs of the plants from seedling to fruit.
(28:27): Use simple and quick ways to save seeds. When collecting fleshy fruit seeds allow the fruit to completely ripen and store in glass jars. Store glass jar in freezer. There are many unique techniques for collecting and preparing seeds but keep it simple and quick.
(32:56): To store seeds: use dark, glass jars, be sure the lids are sealed. Restrict the number of times you open the jar or pull out of freezer.
(33:57): CRIA can pick up seeds after they are collected and prepare them. Send seeds in small muslin bags or envelopes and information about the seeds.
(35:35): Michot: We want to communicate with all those that have knowledge and preserve the knowledge and share it as a community effort. It is important to preserve these heirloom seeds because they are generally superior to store bought. Sustainable living is exemplified in a bousillage building ---cypress tree, mud and moss.
(42:37): Whitney Broussard - post doc researcher - working to help establish an exhibit at the Acadian museum showing the agricultural techniques of the early Acadians in Nova Scotia. Another project is to sponsor the Lost Bayou Ramblers to an event in Decatur, Illinois, which is interested in nutrients, pollutants and contaminants from agriculture that are making their way into the Mississippi River, to the coast of Louisiana and connected to the dead zone off the coast. There will be a presentation on Louisiana our landscape, our coast line and the Gulf of Mexico with stories, and music.
Preserving History
In Your Own Backyard # 5- Preserving family history
Jennifer Ritter and Alyce LaBry
Center for Cultural & Eco Tourism
To document family history first get stuff—go out and talk to family members, record the conservations, take stock of what exist. Go to those family members who hold the memories of the family and have preserved it and ask them to share the memories. If there are papers, acid free boxes for storage will be necessary, along with a flat bed scanner and a program to create electronic files. If there are photographs, slides or videotapes you need to make an assessment of their condition and how to best preserve them. It is best to get the family member comfortable with talking to you. Once you determine who to talk to and the condition of material that exist you can begin to set up your equipment and the process you will use to collect the information. Bring pencil and paper to jot down notes and adequate equipment for the interview. Always ask the person to state their name, when they were born, where they were born, who were the parents and that they agree to the interview. Take into account the condition of the material/artifacts being discussed.
Conservation of the item is important. Be aware that the item it is not exposed to light, temperature extremes, humidity and pest. The item should be stored in acid free boxes in a dark dry place. Once stored keep check on it. Purchase acid free photo albums to store pictures and mount them with acid free photo corners. Store slides and negatives in slide pages.
Discussion and demonstration continued showing various pieces of equipment used by the Center.
To get to the Center’s data it is easier to go to the Center’s website, select the archives tab and access it from there. The catalog is a work in progress.
(39:43): There are several ways to share collected material with the family—a slide show or perhaps a small book (there are on-line sites that can be used) or a Microsoft word document. Make CD’S of audio collected.
(42:41): Jennifer: Your family history is important. It is worth documenting. It is worth digging deeper because that contributes to the collective knowledge of what we have, knowledge of the area, of the people, of our culture, of our ethnicity, of our language everything that we are comes from who we were. If you don’ know what to do with the material after you have collected it, come to the Center and we will be glad to take it off your hands and add to our collection.
Interview with Walter Mouton
00:00:25 - Talks about how he started learning music; His dad had an accordion and he listened to his dad play; His dad taught him; He would keep his accordion under his bed;
00:04:30 - He would go see Cleby Richard play and he would sit in for half the dance;
00:04:55 - Austin Brasseaux had a club in Duson called the Four Roses; Tony Thibodeaux on fiddle, Bee Abshire on guitar, and Walter on accordion; They played from 4pm to 12am; PA systems; Bought a fender concert amp in 1963; Bought a full Yamaha system, then switched to Peavey;
00:08:10 - He played with the Scott Playboys for 57 years; Sat in with Lawrence Walker's band before that; They played at La Poussiere for 44 years; The first photo of his band was taken at Malthide Babineaux's place on Oak Avenue in Lafayette;
00:10:18 - He played music as a hobby; He kept playing because people kept coming see him; Played at Happy Landing Club, Jolly Rogers in St. Martinville, 'Tit Maurice, Reno Club in Kaplan, Colonial Club in Estherwood;
00:12:50 - Talks about the first time he went to the Grassroots Festival in New York; He was blown away that everyone was waltzing and two-stepping;
00:14:40 - He dad was a barber; He would listen to his dad's older customers tell stories;
00:16:00 - He is most proud of his three children;
00:17:00 - He was fortunate to have had a dependable band throughout most of his career; After U.J. Meaux passed away, he hasn't found a regular fiddle player; He watched his band members kids grow up; The band was like a family because they were together every weekend;
00:19:30 - He says he had a reputation for being hard on band members, but he just wanted people to give their best; He told his band to be kind to the audience because they are paying their salary; He used to have more people that would go see him regularly, but many have passed away;
00:22:10 - La Poussiere used to be packed every Saturday; The racetrack and other clubs and restaurants took some of the crowd away;
00:24:00 - He's been going to the Grassroots Festival for 18 years; The main difference between playing in Louisiana versus outside of the state is that older people in LA prefer waltzes, but people in other places prefer two-steps;
00:27:40 - (Conversation switches from french to english) Importance of singing in french; Belton Richard would translate english songs to french; French immersion;
00:32:00 - His favorite musicians are his father, Lawrence Walker, Aldus Roger;
00:33:40 - He remembers meeting Wayne Toups, Steve Riley, Jackie Caillier;
00:36:00 - He calls it Cajun music; Advice to younger musicians; Listen to the music first; It isn't smooth at all at first and it takes a lot of patience;
00:38:00 - They talk about his last show later this evening; He has mixed feelings about stopping; He is the parrain of the owner of La Poussiere's daughter, Nicole;
00:41:00 - He makes a mean gumbo; Okra, chicken, andouille sausage; Fricassée;
00:42:45 - If he has something to tell you, he will tell you to your face; He won't argue with someone when they are drunk; He won't get drunk at a gig because people pay money to go see him;
00:45:15 - Story about playing in Wisconsin;
00:48:00 - Talking about his first record;
00:49:15 - Grew up with a wooden stove; It would heat up the house;
00:50:45 - He used to drink coffee after a gig and sleep until noon the next day, but now the caffeine keeps him awake;
00:51:45 - For awhile, he worked 7 days a week in the oilfield and played 3 nights a week; He plans on playing occasionally after his last show at La Poussiere;
00:56:00 - Helen joins the conversation; She likes to dance; They go into the bedroom and his outfit is ready for the gig that night;
00:58:40 - Walter shows Chris Segura his fiddle and Walter gets his guitar; They talk about instruments;
Interview with Walter Mouton II
Continued interview at Walter's house;
00:00:00 - Background footage around Walter's house;
00:01:05 - Walter shows the crew his camper; Helen shows some of her art;
00:06:00 - Walter talking about his pecan trees;
00:07:55 - Walter shows the crew his motorcycle;
00:09:25 - Car ride with Walter listening to KBON; Talking about Scott;
00:13:38 - For work, he farmed with his dad; Next, he worked as a tank builder in the oil field; He points out his family property; They had a barn and cattle;
00:17:45 - He points out the old Triangle Club; He played there when they opened; He helped lay down the floors and smashed his thumb putting in the last board;
00:21:00 - They go inside the Begnaud House; Continue driving around Scott; The Best Stop;
Walter's last show at La Poussiere in Breaux Bridge;
00:30:15 - Footage of the crowd before the band starts; Walter points out his godchild;
00:34:20 - Old Crowley Two-step; Ronald Prejean on drums, Junior Martin on steel guitar, Haas Cormier on bass, Chad Cormier on fiddle, ? piano;
00:35:30 - Chère tout tout (sound cuts in and out);
00:38:41 - Trop jeune pour marier;
00:40:32 - Triangle Club Special;
00:44:10 - La valse de Grand Prairie;
00:48:20 - La valse de grand chemin;
00:50:20 - Bosco Stomp;
00:52:38 - J'étais au bal;
00:58:00 - B.O. Sparkle Waltz;
01:00:15 - Je m'ennuie pas de toi;
Interview with Walter Mouton III
Walter Mouton's last show at La Poussière;
00:00:00 - Duson Waltz;
00:01:45 - Priests; Ken Walker, president of CFMA; Nicole Patin;
00:04:30 - Presentation honoring Walter;
00:10:00 - Gift from the Pas Tout La Club;
00:12:40 - Jackie Caillier;
00:14:30 - Walter's speech;
00:16:30 - Procession around the dance floor; Band starts again;
00:21:30 - La valse de tout le monde (Jackie Caillier on accordion, Ronald Prejean on drums, Haas Cormier on bass, Chad Cormier on fiddle, and Junior Martin on steel guitar);
Interview with Wayne Toups; Show at Pat's Atchafalaya Club;
Interview with Wayne Toups;
00:00:00 - Soundcheck and intro;
00:01:05 - He learned his first song from his brother; Grew up listening to Cajun music; First song was the Wedding March;
00:02:07 - Talks about the accordion; He uses accordion to play more than Cajun music; He's been playing since February, 1972; His first gig was at the OST Club in Rayne in November, 1972; First time he sang on stage was with Milton Adams and the Crowley Cajuns at Marie's Lounge in Kaplan when he was 13;
00:04:15 - He is motivated by the music and his culture; Playing music with an edge;
00:05:17 - Career highlights: he played for President Clinton, George Lucas' Christmas party, toured South America, Europe; His favorite memories are playing for $50 a night driving around and sleeping in his van; 21 day tour with Carole King;
00:07:35 - He is most proud of his son, Darrell; He plays the congas;
00:08:10 - Most difficult challenges as a musician; Not getting recognition through media (on the radio, for example); More stations play Cajun and zydeco music now, but not when he started; Early touring days were a struggle;
00:11:15 - Relationship between band and audience; His band loves to play, so audience size doesn't matter;
00:12:05 - Playing in Louisiana vs. elsewhere; People out of state are sometimes more appreciative because the music is uncommon; Crowd sings along and claps;
00:13:35 - Language; He built his career on this language, it's the root of his music; Passionate language;
00:15:35 - Musicians who he looks up to: Walter Mouton, Clifton Chenier, Belton Richard, Aldus Roger, Iry Lejeune, Otis Redding, Allman Brothers, Aretha Franklin;
00:17:11 - Musicians he has influenced: Damon Troy, Dustin Ray, Hunter Hayes, Kiki Bourque, Jimmy Breaux, Jamie Bearb, Jason Bergeron;
00:19:00 - Advice to younger musicians; Do it for the love, not for the money; Be able to sacrifice; Lost time with his family;
00:21:55 - He feels lucky to be a part of something special that continues to grow;
00:23:17 - Questions about licensing for his show later that evening;
Show at Pat's Atchafalaya Club around Mardi Gras;
00:24:05 - Mardi Gras;
00:26:30 - Wayne Toups and his band before the show;
00:28:50 - Greeting fans before the show;
00:31:15 - Zydecajun Train;
00:34:30 - Sugar Bee;
00:37:52 - Mon ami;
00:40:58 - Quand j'étais pauvre;
00:45:42 - La valse de couillon;
00:49:04 - Zydeco sont pas salé;
00:55:28 - La porte d'en arrière;
01:00:05 - Tupelo Honey;
Wayne Toups at Pat's Atchafalaya Club II
00:00:22 - Evangeline Special;
00:04:38 - Couillon;
00:08:37 - I Don't Want You Anymore (sound changes);
00:12:48 - Hold the Line (Don Hayes on keyboard and vocals);
00:16:30 - Let's Fall In Love (All Over Again);
00:19:48 - Grand Night Special / Grand Nuit;
00:24:14 - Johnny Can't Dance;
00:27:23 - Sweet Joline;
00:29:20 - Tous les temps en temps;
00:31:09 - New Orleans Ladies;
00:35:09 - Les flammes d'enfer;
00:39:02 - Sometimes All It Takes (Audio is hard to hear);
00:41:00 - Rock song;
00:46:25 - Big Mamou;
00:47:00 - Take My Hand;
00:53:00 - Encore;
Wayne Toups at Pat's Atchafalaya Club III; Interview with Thomas “Big Hat” Fields
Wayne Toups at Pat's Atchafalaya Club – Last song;
Interview with Thomas “Big Hat” Fields;
00:03:33 - Screen test;
00:05:12 - He played rub board as a kid; He talks about an old accordion player named Claude Fox; He was five and would play with them; When he was 44, his wife bought a French poodle and he bought an accordion;
00:06:15 - He grew up with the music; His grandmother did not speak any English; His great grandmother played accordion; Several family members played accordion; He's been playing for 18 years;
00:07:55 - He is motivated to play because he likes it; Doesn't do it for money; He danced before started playing; He didn't expect to have a band;
00:09:15 - He's enjoyed all of the gigs he's played; Played a spot called Cat's Eye in Baltimore; Alameda, Seattle, Reno, Las Vegas;
00:10:50 - He's proud of the way he was raised; The old way; He was raised by his grandparents and learned a lot from them;
00:12:45 - Differences between Cajun and Creole; A lot of people don't know the difference, even local people;
00:16:10 - His has a good band; Rodney Bernard, Morris Francis, Paul Washington, Paul "The Kickin' Chicken" Edwards, Lucas Broussard, Marty Christian; They fight sometimes, but they get along;
00:18:40 - Playing music in LA vs elsewhere; People in LA are familiar with the music and people out of state appreciate it because they don't hear it often; Story about touring;
00:21:45 - They start speaking in French; Discussing why the language is important for the music;
00:22:55 - Local musicians; Paul Harris, Clifton Chenier, John Delafose, Boozoo Chavis; Zydeco music;
00:26:00 - Younger musicians; Music today is different because people are raised different; He spoke French; People played on the back porch and played what they felt; Younger musicians are changing the music and making money, but it isn't the same as real Cajun and Creole music;
00:32:10 - He hopes that he has influenced younger people; Paul Harris told him anybody could be a copycat, but if you want to play zydeco you got to make your own;
00:36:15 - Advice to younger musicians; Keep the culture and keep a level head; Stay away from the hard stuff and take care of their business;
00:37:55 - He just wants to keep promoting the culture in the right way;
00:38:50 - They ask why his nick name is Big Hat; Cowboys; He always wore a cowboy hat; Big Hat Club in Grand Coteau;
00:41:05 - He's finishes concrete and cement; He's had a lot of jobs;
00:44:10 - His grandparents; His grandfather, Frank Senegal, came from the Cape Verde Islands; They all worked with horses; Horse treaters; His grandmother was Creole and Cajun;
00:46:45 - He was raised in Rayne; His grandfather was a farmer; Boudin was $0.05 a piece;
00:50:50 - They talk about copyright/licensing and his show that night;
00:59:30 - La La vs zydeco;
Thomas "Big Hat" Fields and his band
Thomas "Big Hat" Fields, Rodney Bernard, Morris Francis, Paul Washington, Paul "The Kickin' Chicken" Edwards, Lucas Broussard, Marty Christian;
00:01:50 - Josephine;
00:04:35 - Hound Dog;
00:07:48 - Five Long Years;
00:13:48 - Two-step;
00:17:47 - Hey Hey Therese;
00:22:36 - Madame Sostan;
00:26:54 - Tous les temps en temps;
00:31:45 - Big Legged Woman;
00:36:55 - Tu m'après marcher plancher;
00:41:44 - Kansas City;
00:45:01 - Take Off Your Shoes;
00:49:51 - That Butt Thang;
00:53:13 - Rock Me Baby;
Interview with Geno Delafose
00:00:00 - (no audio) Footage of Geno at his ranch riding horses; Horses in the stable;
00:13:22 - Interview starts;
00:14:50 - He started playing rubboard with his dad, John Delafose, when he was 7; Drums at 10, then accordion at 13; They played at Richard's Club, Slim's Y-Ki-Ki, Church Hall in Basile, Church Point, Lake Charles; Houston and Port Arthur; He's been playing for 31 years;
00:15:50 - He wants to play until he can't anymore; He is motivated by his fans; It's a way of life for him; He makes a living from it now; He also works at his ranch and for a lawn service company out of Houston; Also, a substitute bus driver;
00:17:30 - Career highlights; Getting popular around home; At first, he mostly played out of state; Touring; His van had around 212 miles when he bought it and 413,000 miles when he sold it;
00:20:20 - He wouldn't want to live anywhere else; People aren't used to seeing Creole cowboys out of state;
00:22:40 - He works to make a living; He always wanted to bring black and white people together through his music; His first gig at a Cajun club was at Whiskey River playing drums with Balfa Toujours; Soon after, he played there with his own band; Grant Street; Whiskey River opened up other opportunities;
00:26:40 - He is playing what he grew up listening to;
00:27:50 - At first, he worked all the time and didn't make much money; Took a long time to get his name out there;
00:29:20 - His band; They interact with the audience;
00:30:05 - Differences playing in or out of state; People out of state have learned more about music and dancing;
00:31:50 - (interview in French); His grandma did not speak English; Cajun and zydeco music is sung in French;
00:33:00 - His influences are his father, Bois-sec Ardoin and his family, Canray Fontenot, Preston Frank and his family, Clifton Chenier;
00:35:40 - Young musicians; Advice to young musicians; Finish school; A musician's life is hard;
00:39:33 - His nephew plays with them sometimes;
00:40:00 - B roll footage; Talk about licensing;
0043:40 - He talks about his friend Roland Smith who taught him a lot about life;
00:47:40 - Eunice B roll footage; Cajun music hall of fame and museum; Liberty;
Interview with Goldman Thibodeaux
00:01:25 - Bébé, Eraste, and Calvin Carrière; His mom was first cousins with the Carrières; He played triangle and rub board and sang before accordion; Mostly house dances, not a lot of nightclubs; Delton Broussard and Calvin Carrière told him he should start playing;
00:03:20 - He was 50 when he decided to buy an accordion; Elton Doucet in Richard builds accordions; His friend, Fruge, got one too; He paid $300 for it;
00:07:55 - The Carrières and Delton gave him good advice; Bois Sec Ardoin; He saw Amédé Ardoin one time in person; Tracey Schwarz; His CDs;
00:11:00 - Talks about meeting Cedric Watson; Corey Ledet; Difference between zydeco and Creole music;
00:12:20 - Clifton Chenier started zydeco; Creole music and Cajun music is first cousins, but Creole music is a little more bluesy;
00:13:30 - Story about meeting Amédé Ardoin as a kid; House dance on a Sunday afternoon; He was 8 or 9; Ardoin's accordion was in a sack tied to his saddle; He played for about 3 hours; They passed a hat around for his payment;
00:17:00 - His parents bought Amédé's records; His first record was in 1929;
00:18:15 - He enjoys playing music and helping the people; His dad was a sharecropper; He stayed and helped his parents repair their house; His mother only spoke French;
00:22:10 - (Interview switches to French); Importance of preserving the French language; French in school is different than Creole;
00:25:25 - Singing in French;
00:28:35 - The relationship between his band and the audience;
00:32:00 - Motivation to continue playing for so long; It's not about money; Radio; He listened to Grand Old Opry, Amédé Ardoin, Amédé Breaux, Joe Falcon;
00:37:30 - The Carrière's music; Bébé recorded Bluerunner, Madame Faielle, Two-step de Coteau, Two-step de Creole;
00:40:10 - *Ask Marie to translate this section*; Picking cotton; Cornbread; Dancing two-steps and waltzes;
00:46:15 - His first song on his first CD;
00:49:39 - B-roll footage of his house;
Geno Delafose and French Rockin' Boogie at Whiskey River
00:00:18 - Talking to a man in his truck;
00:01:06 - B-roll footage of Whiskey River;
00:06:35 - Talking to people at the entrance;
00:07:45 - Inside before the show;
00:10:40 - First song;
00:14:00 - Geno Zydeco;
00:17:29 - Hey chère gardez donc chère;
00:21:38 - J'aimerais te pardonner;
00:25:29 - Quoi faire;
00:28:45 - Fait pas tout ça;
00:32:00 - Une autre soir ennuyant;
00:36:00 - Oh bye-bye catin;
00:40:10 - Introduces Pat Stelly, his guitar player; It's his birthday;
00:41:00 - La pointe aux pins;
00:45:30 - Eunice Two-step / Bayou Teche Two-step;
00:49:00 - Promised Land;
00:54:34 - Chère tout tout;
00:58:34 - Everybody's Dancin';
Geno Delafose & French Rockin' Boogie at Whiskey River II; Lil' Nathan & the Zydeco Big Timers at Café des Amis
Geno Delafose & French Rockin' Boogie at Whiskey River II;
00:00:00 - Oh Bye Bye;
00:03:38 - Don't Shake My Tree;
00:08:45 - Bee de la manche;
00:13:12 - Maltida;
00:16:49 - Hold That Mule (?);
00:21:57 - B-roll footage from outside;
Lil' Nathan & the Zydeco Big Timers at Café des Amis, Breaux Bridge, LA;
00:25:13 - B-roll footage of Café des Amis before show;
00:28:25 - My Squeezebox;
00:33:22 - Song (title?);
00:37:36 - Song (title?);
00:38:47 - Song (title?);
00:41:24 - Zydeco Heehaw;
00:44:10 - I Got Loaded;
00:49:00 - Song (title?);
00:52:35 - We Gonna Party;
00:58:40 - Boozoo song / Mardi Gras;
01:02:07 - Why;
Live Performance by Lil Nate Williams at Café des Amis and Interview Part 2
00:00 - 31:20 - Footage from Lil Nate and the Zydeco Bigtimers Zydeco Breakfast show at Cafe des Amis
Interview with Lil Nate begins;
31:30 - Discussion about how he got started playing music, talks about his dad's influence on his music;
33:00 - Talks about his love for music and why he wants to play music professionally;
34:00 - Nathan talks about the hightlights of his music career - Played at the Hollywood Bowl in 2006;
35:55 - Says that he's most proud of seeing his fans have fun and be happy;
37:20 - Struggles - Mentions that when playing at home, it can be difficult to draw crowds consistantly; Says that since he has mentors (Nathan Williams, Sr., Dennis Paul Williams, Sid Williams) it hasn't ever been really difficult;
39:40 - Relationship between the band and audience, talks about changing the music, adding more interesting chord progressions
41:50 - Difference between playing in Louisiana and out of state;
43:45 - Use of French in his music;
44:20 - Discussion about other Zydeco and Cajun musicians who Nate admires - BooZoo Chavis, Beau Jocque, Buckwheat Zydeco, Fernest and the Thunders, Wayne Toups Roddy Romero;
48:30 - Nate talks about how proud he is of his little brother and projects they've worked on together.
49:30 - Advice for up and coming musicians;
Moriah Istre Interviews D.L. Menard and Merlin Fontenot
00:01:35 - D.L. explains how he got into playing music. His uncle had a Cajun band, he went to a practice session and fell in love with the guitar;
00:02:30 - D.L. ordered a guitar from a catalog that cost $11. He tells a story about growing out of that guitar and needing a better quality one. He was sent a more expensive guitar than he had ordered;
00:04:00 - Played his first gig 6 months later in 1949 and has been playing ever since;
00:05:25 - Talks about his Country & Western influences. He says that in those days, a Cajun band that couldn't play Country music was more or less, not considered a good band;
00:06:30 - Sang Country songs for 3 years before he started singing French tunes - Talks about meeting Hank Williams in 1951;
00:07:10 - D.L. Talks about being called the "Cajun Hank Williams" It came from an article in "Sing Out" in 1973 after playing the National Folk Fest at Wolftrap;
00:08:00 - Highlights of his career - Traveled to 45 states, 38 countries. Talks about his experiences in China. He taught them how to say "Hot Dog;"
00:09:30 - D.L. talks about his time spent in the Shetland Islands. He says they were some of the nicest people he ever met;
00:10:45 - Touring Asia with Rickey Skaggs and Jerry Douglas;
00:11:30 - Talking about some of his other tours, meeting a fan from Holland on the streets; He says "La porte d'en arrière" brought him all over the world;
00:15:24 - D.L. tells the story about writing "La porte d'en arrière" while working at a gas station and translates the lyrics;
00:17:40 - D.L. says that he's most proud of his family and the songs that he's written; He mentions how much he loves meeting people through playing music;
00:19:45 - Talks more about Hank Williams' influences on his music and on how he treats people;
00:21:20 - Says that he didn't make money from record sales - they mainly cut records to get better gigs;
00:22:30 - Talks about playing with Terry Huval and Jambalaya, he jokes and says that they are about the only band who would put up with him;
00:24:50 - He talks about his relationship with fans; Hank Williams told him "You have to live your songs on stage."
00:26:10 - Differences between playing at home and out of the country - dancing crowds versus seated crowds;
00:28:00 - Interview switches to French;
00:28:10 - Talking about why it's important to preserve Cajun French when he writes his songs;
00:30:00 - D.L. mentions being forced to learn English in school;
00:32:20 - Talking about other musicians he likes - Simon Saint-Pierre, Bois-Sec Ardoin, Belton Richard, Aldus Roger, Lawrence Walker;
00:35:15 - Talking about young musicians he has influenced - Doesn't name anyone but says that "La porte d'en arrière" is always one of the first songs young players learn;
00:36:20 - Advice for younger musicians - Play what you like, don't try to be someone else, be clear with your lyrics;
00:38:00 - Close up footage for B roll; Talking about the hat that he's wearing;
00:40:50 - D.L. talks about his CA Guitar;
00:42:10 - D.L. performs "La porte d'en arrière;"
00:46:00 - Footage from the outside of Randol's Cajun Restaurant;
00:47:15 - Interview with Merlin Fontenot begins;
00:50:30 - Merlin talks about the different types of music he plays - Says he had to learn different genres of music so that he could get gigs; plays by ear;
00:52:20 - Started playing when he was 8 years old. Made his own fiddle because they were too poor. Made it out of a cigar box, screen wire, thread, cow horn
00:53:00 - His first real fiddle was ordered from Sears Roebuck. He talks about his favorite fiddle that his brother in law brought home from Germany after WWII;
00:55:30 - Difference between violin and fiddle - No difference other than the kind of music you play.
00:56:00 - Merlin plays a few "jazzy" licks; Talks about how he's learned different types of music;
00:57:30 - Motivation to continue playing - Merlin says he loves it because he's always learning;
00:59:55 - Highlights of his career - Playing at the Grand Ole Opry with Faren Young, Patsy Cline;
Researcher Catherine Joliecoeur conducting fieldwork in Louisiana French
1-10min Les rites de prières familial, la mort, "Madame Michelle," les phantômes, les esclaves, le monde de coeur libre (qui ont
restés avec leurs maîtres, les Landry);
10-15 min Des prières, des punissions, une fille adoptée;
15 min La Chasse-Gallerie;
1-10 min Family prayer rituals, death, "Madame Michelle", ghosts, mistreated slaves, freed men of color (who stayed with their
masters, the Landrys, even after freedom);
10-15 min Prayers, punishments, an adopted girl;
15 min Chasse-Gallerie;
0:27 phantôme, prière
1:14 corbillard
2:00 Felix Trahan(?) la phantôme Madame Michelle
2:25 Baldeboeuf (?)
3:15 accordéon
4:35 les esclaves maltraités
7:00 les esclaves
7:35 confiture
7:45 troisième génération des esclaves
9:20 punitions
9:50 Fontenot
10:45 prières
11:20 passer la quête
11:45 funeral home
13:00 fille adoptée
13:08 Madame Broussard(?)
15:00 la chasse
Musical by Varise Connor, Clayton Suire & Bascom Mouton at a family gathering
Family gathering - Recording speed shifts randomly
Laisse les bons temps rouler;
Grand Mamou (00:00:53);
Lake Arthur Stomp (00:02:23);
T'es petite et t'es mignonne (00:03:53);
T'en as eu, t'en auras plus (00:05:17);
Preordain Two-step (00:06:05);
Untitled Two Step (00:07:00);
Swing tune - Recording overdriven (00:07:58);
La robe barré (00:11:00)
Conversation
Untitled tune (00:18:30)
Reel (fragment) (00:21:50)
Mulberry Waltz (00:22:15)
Conversation;
Jolie Blonde (00:24:07)
Grand Mamou (00:25:57)
Chere Alice (00:30:40)
Side B Starts
Chere Alice (00:32:55)
Grand Basile (00:36:03)
Untitled Tune (fragment) (00:38:56)
La Malheureuse (00:39:30)
Untitled Waltz (00:43:00)
Chere Tout Tout (00:46:30)
Untitled guitar song (00:49:50)
Your Cheating Heart (00:51:14)
Chere Alice (00:53:09)
Untitled Waltz (frag); (00:56:10)
T'en as eu, t'en auras plus (00:58:06)
Chere Tout Tout (01:00:00)
Overdubbed recording of Grand Basile;
Varise Connor, Bascom Mouton & Clayton Suire
Untitled Waltz;
Port Arthur Blues (00:01:08);
Untitled Waltz (00:03:25);
La branche du murier (00:06:25);
Jolie Blonde (00:09:40)
Adieu Rosa (00:11:50)
La valse d'orphelin (fragment) (00:15:06);
T'en à eu, t'en auras plus (fragment) (00:17:27)
Untitled Waltz (00:17:48)
Grand Basile; (00:18:50)
Untitled Waltz;(00:19:55)
Untitled Waltz (00:21:10)
La Malheureuse (00:23:35)
Grand Basile (00:25:20)
Madame Sosthene (frag); (00:27:00)
Kazoo Blues (00:28:10)
Chere Alice (00:30:00)
Overdubbed bluegrass (00:31:00)
Side B - Repeats Side A
Varise Connor; Connor Family Party
Varise Connor and unknown guitar & mandolin player playing at a family party in Fenton, Louisiana
Over the Waves
Blues tunes on guitar;
Guitar song (Spanish?) (06:45)
Guitar song (Spanish?);
Jimmy Bryant's Waltz (frag); (09:18)
Allons à Lafayette (11:30)
Over the Waves (13:14)
Memphis Blues (frag); (14:59)
Varise Blues (17:19);
Untitled Waltz (17:55);
Guitar song (19:25);
Mandolin & guitar waltz (21:50)
Mandolin & guitar swing; (22:30)
Mandolin & guitar swing; (23:40)
Untitled Waltz (24:20)
Country Fiddle tune (25:38)
Homemade recordings of Varise Conner and Bascom Mouton
Copy of KI1.001
Laisse les bons temps rouler;
Grand Mamou (00:00:53);
Lake Arthur Stomp (00:02:23);
T'es petite et t'es mignonne (00:03:53);
T'en as eu, t'en auras plus (00:05:17);
Preordain Two-step (00:06:05);
Untitled Two Step (00:07:00);
Swing tune - Recording overdriven (00:07:58);
La robe barré (00:11:00)
Conversation
Untitled tune (00:18:30)
Reel (fragment) (00:21:50)
Mulberry Waltz (00:22:15)
Conversation;
Jolie Blonde (00:24:07)
Grand Mamou (00:25:57)
Chere Alice (00:30:40)
Side B Starts
Chere Alice (00:32:55)
Grand Basile (00:36:03)
Untitled Tune (fragment) (00:38:56)
La Malheureuse (00:39:30)
Untitled Waltz (00:43:00)
Chere Tout Tout (00:46:30)
Untitled guitar song (00:49:50)
Your Cheating Heart (00:51:14)
Chere Alice (00:53:09)
Untitled Waltz (frag); (00:56:10)
T'en as eu, t'en auras plus (00:58:06)
Chere Tout Tout (01:00:00)
Overdubbed recording of Grand Basile;
Live Performance at Artmosphere - Courtney Granger, Kevin Wimmer, Thomas David, Jimmy Breaux, Chas Justus, Blake Miller, Colin Gould
Live Performance at Artmosphere
00:00 - Blues de Cajun;
02:35 - La valse de grand bois;
03:20 - Mamou two-step;
Courtney Granger - Fiddle and Vocals
Kevin Wimmer - Fiddle
Jimmy Breaux - Drums and Accordion
Chas Justus - Accordion
Blake Miller - Bass
Thomas David - Bass
Colin Gould - Drums
Live Performance at Artmosphere - Courtney Granger, Chas Justus, Kevin Wimmer, Daniel Coolik
00:00 - If Drinking Don't Kill Me
Courtney Granger - Guitar and Vocals
Chas Justus - Guitar and Vocals
Kevin Wimmer - Fiddle
Glenn Fields - Drums
Daniel Coolik - Telecaster
Unknown Steel Player
Live Performance at Artmosphere - Courtney Granger, Kevin Wimmer, Dirk Powell, Chas Justus
00:00 - Les veuves de la coulée;
02:06 - Grandfather's Waltz;
03:12 - Somewhere Between Your Heart and Mine;
04:29 - If Drinking Don't Kill Me;
Courtney Granger - Fiddle, Guitar, and Vocals
Kevin Wimmer - Fiddle
Dirk Powell - Upright Bass
Chas Justus - Guitar
Live Performance at Artmosphere - Courtney Granger, Kevin Wimmer, Dirk Powell, Kelli Jones, Chas Justus
00:00 - When a Man Can't Get a Woman Off His Mind
Courtney Granger - Guitar and Vocals
Kelli Jones - Vocals
Chas Justus - Guitar
Kevin Wimmer - Fiddle
Dirk Powell - Upright Bass
Live Performance at Artmosphere - Courtney Granger, Thomas David, Chas Justus, Kevin Wimmer
00:00 - Hello Darling;
01:24 - Quand j'étais pauvre;
02:25 - You're Still On My Mind;
Courtney Granger - Guitar, Fiddle, and Vocals
Kevin Wimmer - Fiddle
Chas Justus - Guitar
Kelli Jones - Guitar
Thomas David - Bass
Jimmy Breaux - Accordion
Live Performance at Artmosphere - Courtney Granger, Kevin Wimmer, Jimmy Breaux, Chas Justus
00:00 - Quelle Etoile;
03:02 - La valse de grand bois;
Courtney Granger - Vocals and Fiddle
Kevin Wimmer - Fiddle
Jimmy Breaux - Accordion and T-fer
Chas Justus - Guitar
Live Performance at Artmosphere - Courtney Granger, Kevin Wimmer, Jimmy Breaux, Chas Justus
00:00 - Blues de tac-tac
Courtney Granger - Fiddle and Vocals
Kevin Wimmer - Fiddle
Jimmy Breaux - Accordion
Chas Justus - Guitar and Vocals
New Orleans Mardi Gras Rex parade 1955
Transferred from 16mm film - No Audio - New Orleans Mardi Gras Rex parade 1955
New Orleans Mardi Gras Rex ball 1955
Transferred from 16mm filmNo Audiogathering at home- children in costume; sipping drinks; adults with cocktails; food; King comes downstairs to fanfareNew Orleans Mardi Gras Rex ball 1955
New Orleans Mardi Gras Rex ball 1961
Transferred from 16mm film - No Audio - New Orleans Mardi Gras Rex ball 1961
New Orleans Mardi Gras Rex- Comus ball 1961
Transferred from 16mm film - No Audio - New Orleans Mardi Gras Rex - Comus ball 1961
New Orleans Mardi Gras Rex ball 1968
Transferred from 16mm film - No Audio - New Orleans Mardi Gras Rex ball 1968
Harry Choates and his band at the Rio Vista Club in Bandera, Texas, 1950. Steel guitar, Phil Marx, piano, Louis Oltremari, electric guitar, Ivy Gaspard, fiddle, Harry Choates
Harry Choates and his band at the Rio Vista Club in Bandera, Texas, 1950. Steel guitar, Phil Marx, piano, Louis Oltremari, electric guitar, Ivy Gaspard, fiddle, Harry ChoatesC.Crawford Vincent
Interview with Iry Marceaux
Interview with Cursey J. Gordon, Sr.
Interview with Cursey Gordon, Sr.
Interview with Cursey J. Gordon, Sr.
Interview with Cursey J. Gordon
Bluebird 2193 - Alleman and Walker - Mon dernier bon soir and La femme qui jouait les cartes
Bluebird 2193 - Alleman and Walker - Mon dernier bon soir and La femme qui jouait les cartes
Lawrence Walker - Violin
Tony Alleman - Vocals