I was curious if anyone is recordeing Cajun music with English lyrics.

Yes, yes I know it is not really Cajun but it is the style of the music that I like. About the only song I have heard in both French and English is the old Hank Willian song Jambalaya.

I have heard Spanish and Polish songs with English lyrics. Often the verses have nothing to do with the original song, they are simple writing new words to a good melody.

I can not believe that with the great Cajun sound has not been adopted by other musical outlets.

Just curious,
RPr

I have heard some recordings of that nature, but I can't recall a specific example off the top of my head. What I do remember was that I was not impressed. I suppose it depends on the skill of the person translating/adapting the lyrics from French to English, but I remember thinking that the songs lost a great deal in translation.

-David

I have seen it done, Paul Daigle has at least one song (Valse Criminelle)with the verse sung in both cajun and english. His song is unusual because he is able to keep the same meaning. Most others I have heard have to change the meaning quite a bit to make good lyrics in english. Translations just dont jive well trying to keep the same meaning.

The worst offender (off of the top of my head) would be, hands down, Doug Kershaw. I probably don't have to explain that to those who've heard his "Cajun Stripper" (mock gibberish version of Bosco Stomp) or "Mama Rita In Hollywood" (mock gibberish of J'Etais Au Bal). He also destroyed "Tit Galop Pour La Pointe Aux Pins" as "Had a Good Woman But She Married Lawrence". Lest I forget "Mon Chapeau". Most of them DO have horrid attempts at singing a verse in English, though, which is why I bring it up.
All good examples of what is in Cajun, should stay in Cajun. If you hear these *******izations (guess who gets writing credit), I think you'd realize what it means to truly preserve a culture...
(as an aside I know few Cajuns who actually listen to the man, suffice to say I got into Doug Kershaw before I got wise and got some real Cajun music!)

I consider myself a Cajun and I have listened to, admired, and respected Doug's music all my life. He was very important in the history of Cajun music. Yes, he has a very quirky nature to a lot of his songs, but they are "who he is." I think he really feels his music and it comes out the way he feels it...distinctly Doug. He is a real showman and a great fiddler even if nowadays it is more difficult to discern. When a guy like Mark O Connor considers Doug a hero, it means he saw something unique and special there. When I met Doug a few years ago I said, "I've listened carefully to alot of your recordings and I am still trying to figure it all out." He said, "Me too!"

Make no mistake he is a true Cajun and he "marketed" a certain image and brand of Cajun, but it has made a huge impact. He didn't try to sound like "all the rest" He knows what you would call "true Cajun music" sounds like. I think he just chooses to be an innovator and not an imitator-- he was not afraid to forge his own path. You can like him or not but you still have to give him some respect.

I can certainly agree with you, I think perhaps he was in some ways an entry into Cajun music for a lot of people (like myself - I remember picking up an Adam Hebert disc because I thought one of the songs sounded too much like something Doug had done, so that was my "formal" introduction), and I can admit to liking some of his stuff, I listen to his "The Cajun Way" and "Spanish Moss" albums every so often. He is a talented musician, but of course, when people ask, "what's cajun?", I'd respond with a Balfa disc in hand.
Come to think of it, that "Spanish Moss" record is the reason I tracked down a turntable some time back...

The first Cajun recordings I ever bought were a handful of Doug Kershaw LPs from Ernest Tubb's Record Shop in Nashville. This was back in 1985, and I bought them because I had heard of Doug before, driven across the I-10 overhead -- and the titles were peppered with buzzwords about Louisiana (a place I was quickly growing fond of) as well as the photos of swamps (i.e. "Spanish Moss" and "Swampgrass" cover artwork.) I soon discovered Jimmy C. Newman after Doug -- another guy who was a tremendous innovator in the "Cajun-ized" genre, who had a very unique perspective and posturing of "Cajuncountrymusic."

Both of these cats are Country Music Hall-Of-Famers, ya know.

My introduction to "Louisiana Music" via LPs from these two guys was all I needed to get me to dredge a lil' deeper. A year later, I found myself at a table one afternoon at Mulate's in Breaux Bridge watching Dewey Balfa play -- so close to me, he could've snatched a piece of gator off my table. It wasn't long after this experience, the world of "local" Cajun (French) music had been released into my veins, which caused Doug or Jimmy to be rarely taken out of the jacket for a spin.

BUT, I am very grateful for guys like Newman and Kershaw, Frenchie Burke and -- heck, even Justin Wilson for introducing my ears to the unique world of south Louisiana. 20 years ago, guys like me outside The Triangle -- shoot, that's all we could get. By doing so, it led me to other pleasures such as Creole music and culture -- and that's a whole nuther wonderful story.

Chris Miller's got it right... be yourself. Do it your way. And hey, it's better to be criticized than ignored! Know wut ah mean?

Rick Reid

On the same LP that contained his top 40 hit 'Ridge Top', I was introduced to both Cajun french and English lyrics in the song he called 'LaFayette Waltz". He covered an old standard that just doesn't get much play these days. 'j'ai parti a lafayette, j'ai parti a lafayette..." Oh, I really like that tune.

Peace,
Griff

It...just...does...not...sound...right...in...English.

It really cheapens it. Some songs seem to work. Big Mamou comes to mind.

It hurts to see many Japanese blues bands and even some bluegrass folks here stumble through the words to the songs. I find Japanese to be much easier than French. I absolutely cannot hear French, let alone speak it.

For that reason alone, I have put the accordion away, and gone back to acoustic guitar and the occasional R&B or blues gig on the Strat. I'm not Cajun, I doubt if I will ever even travel to Louisiana and I don't feel like getting my jollies at the expense of another man's Culture.

It was fun playing the accordion over the last four or five years, but those days are over for good. If anyone has the opportunity, I hope you can make it to the Kate Wolf festival up at the old Hog Farm in Laytonville. Lots of great bands up in the northwoods...

Tq

For me personally, such qualities as the vocabulary and accent of the cajun french language are a big part of what makes cajun music so special. There are lots of cajun bands today doing english songs and they are also good. However, I admire the way so many cajun musicians stick to their french vocals despite the fact that so much of life today happens in english. I love traditional music, but I also like multidimensional cajun singers and songwriters like Al Berard and Zachary Richard who can write other styles in cajun french. Swamp Pop and Blues sound good in french too. I also like zydeco, so much of which is sung in english these days, but I find the songs done in french are extra special. They are so specific to the culture of south Louisiana.

Tom,

I don’t personally know you from Adam, but regardless
of your level of performance I would hate to see you
prosecute yourself for someone else’s artistic
infraction.

Who knows what motivation or lack of it was present
when the Japanese artist was fumbling with BB King’s
lyrics. There was no gauge to indicate if it was
from the heart or simply a self-serving endeavor.

Those that don’t make mistakes aren’t trying hard
enough.

No man has a copyright on the act of another man
playing music.

It’s our inalienable right as human beings to be able
to express ourselves artistically through the art or
music.

Something very special must have touched you, for you
to have spent a considerable amount of time and money
to procure and learn the Cajun accordion.

I urge you to not give up on the box .. Don’t let
others’ short sightedness short-circuit your life’s
desires for genuine heartfelt activities.

--Big

There is « Alberta » by Lawrence Walker, « Raise Your Window High » by Cleoma Breaux, and, by current musicians, « Little Bitty Girl » and another version of « Alberta » by Cory McCauley (« Play That thing,Yeah Jack » CD). There's also one by DL Ménard (I can't remember the title for now).

Christian

Right,

The Gin Blossoms, a semi-decent alt-rock band from the 90's wrote a good tune called, "Cajun Song". CJ Chenier plays accordion on it.

What's amazing about the song is the way the English lyrics sort of mimic the rhythm of Cajun French.

It's not traditional, but you should still give it a listen.

Nick B

Adam Hebert's Tomorrow I'll be Gone (though the accent is so thick, you might not recognize the English right away!)

Please read these note my dear
For soon I won't be here
Don't wait for me, tomorrow I'll be gone
For now it's plain to see
You made a fool of me
Don't wait for me, tomorrow I'll be gone

Oh, you said that you'd be true
And I put my trust in you
Oh my darling now what more can I do?
You made me love you so
And now I have to go
Don't wait for me, tomorrow I'll be gone

I tried through thick and thin
And now I can't win
And it's no use for me to hang around
Why can't you really see
The way you tortured me?
Don't wait for me, tomorrow I'll be gone

Oh, you said that you'd be true
And I put my trust in you
Oh my darling now what more can I do?
You made me love you so
And now I have to go
Don't wait for me, tomorrow I'll be gone

(that's from memory, might have missed a line or two)

Hello Christian and all,

"Rock and Roll" and "Keep Your Hands Off of It" and "What's the Matter Now" by Lawrence Walker are Cajun with accordion leads, all sung in English and recorded 40s-50s.

Aldus Roger--"One Scotch, One Bourbon, Another Beer", "Mean Woman" These were remakes of English songs but are distinctly Cajun with accordion, fiddles and steel guitar parts.

"Sugar Bee" with Cajun accordion by Shorty LeBlanc and driving steel guitar and piercing, gutsy vocals by Jay Stutes and Cleveland Crochet was a Cajun rock-n-roll song that cracked the Billboard Hot 100.

There is some historic foundation here in Louisiana for "Cajun Bands" to record some songs in English and these songs being played on local radio and jukeboxes and being accepted by the "Cajun music" audience. There is a good bit of material like this...many Hackberry Rambler tunes also.

Of course there is nothing like the ones with French lyrics and if Cajun music lost the French language altogether, then that would be tragic. I don't see that happening, however, and I don't think people need to fear English...we are after all, Americans and most every Cajun today speaks and conducts business in English. I just don't think the language will die in the music...but it will continue to evolve if it is to remain alive.

If you are not a native Louisianian playing within the tradition, then I can see the reluctance to sing in English...it seems less authentic. First of all perhaps because you are not from the living tradition and the music would seem more artificial sung in translation...I would have to agree. Especially if you want to call it "traditional Cajun."

Of course if you call it "music" without the other labels then there are very few rules...be yourself.

Salut Chris,

Thanks for the references. Me, as long as they don’t replace the accordion by another instrument, it’s ok.
Those who would feel a little guilty of singing a few songs in English could keep in mind this reply by one of Cory McCauley’s musicians : « If it was good enough for Lawrence Walker, it’s good enough for us ».



Christian

--- --- --- --- --- --- --- --- ---

Replying to:

Hello Christian and all,

"Rock and Roll" and "Keep Your Hands Off of It" and "What's the Matter Now" by Lawrence Walker are Cajun with accordion leads, all sung in English and recorded 40s-50s.

Aldus Roger--"One Scotch, One Bourbon, Another Beer", "Mean Woman" These were remakes of English songs but are distinctly Cajun with accordion, fiddles and steel guitar parts.

"Sugar Bee" with Cajun accordion by Shorty LeBlanc and driving steel guitar and piercing, gutsy vocals by Jay Stutes and Cleveland Crochet was a Cajun rock-n-roll song that cracked the Billboard Hot 100.

There is some historic foundation here in Louisiana for "Cajun Bands" to record some songs in English and these songs being played on local radio and jukeboxes and being accepted by the "Cajun music" audience. There is a good bit of material like this...many Hackberry Rambler tunes also.

Of course there is nothing like the ones with French lyrics and if Cajun music lost the French language altogether, then that would be tragic. I don't see that happening, however, and I don't think people need to fear English...we are after all, Americans and most every Cajun today speaks and conducts business in English. I just don't think the language will die in the music...but it will continue to evolve if it is to remain alive.

If you are not a native Louisianian playing within the tradition, then I can see the reluctance to sing in English...it seems less authentic. First of all perhaps because you are not from the living tradition and the music would seem more artificial sung in translation...I would have to agree. Especially if you want to call it "traditional Cajun."

Of course if you call it "music" without the other labels then there are very few rules...be yourself.

I play 'cause it's fun.

This is something I've often thought about.We're told that Cajun lyrics are sung from the heart, but unless you're a Francophone, you need to learn them parrot-fashion, so any apparent feeling is only simulated.
But then, when I sing songs in other genres, I need to learn them so I can sing them without thinking about the words.

If you translate the French lyrics literally they won't sound right, even if you make them rhyme.

I'm guilty of writing English lyrics to one or two songs, for various reasons. I found some beautiful waltzes on Neal's site, but couldn't get lyrics. I can't pick out the French from the record, and was so keen to play them, I tried to write with the same kind of sentiment. Except on rare occasions, I'm stuck with mixed session players who enjoy my attempts at Cajun music, but don't know anything about it. So, without a fidler or steel guitar to take a turn at the tune, the song is kind of monotonous for listeners ( if it has no bridge, and I'm not clever enough to turn it ). But if I stop playing to sing a verse, it makes it more enjoyable.

Having said all that, I wouldn't buy music with English lyrics, unless it was old recordings, like Cleoma Falcon etc.

Also, I'd think twice about singing my lyrics in the company of Cajuns. But then, my English lyrics couldn't be more objectionable than my attempts at singing French lyrics.

One other point. When I've looked at the lyrics and translations of a lot of recently written songs, in French , by Cajun artists, they very often read like any song written in English. They don't seem to recreate the style of the old songs.

I suppose that if I accept that I shouldn't sing them in English, and that I'll never be convincing in French, I should, like Tommy, give it up altogether and just listen to others. But I don't think I could. I like other sorts of music, but nothing will ever replace Cajun for me.

Oh well, that's my two penn'orth. I've probably upset enough people.

BJ

You bring up many good thinking points...don't know if I have answers, though!

In regard to dancehall Cajun music, in other words, the music most accordion players would play and the style of music that has come to be associated with Cajun dancing:

I have played Cajun music for nearly 25 years now...since I was 15 years old. I almost NEVER until last 5 years or so, heard Cajun musicians use the same set of words for the tunes. The actual word-for-word lyrics were not considered that important. The lyrical themes were almost always the same--Tu m'as quitter pour t'en aller, j'su's moi tout seule a la maison, 'garde donc, tu vas revenir que'que jour mais ce sera trop tard...something along those lines with endless variations and personal expressions and many times the lyrics were just made up based on how the singer felt at the moment...I mean the theme was the same, the lines could be changed and improvised.

Later more modern tunes that told a definite story require a more literal retelling in order to make sense so musicians have had to memorize exact songs. Like Camey Doucet's "Mom, j'su's toujours ton petit garcon."

Now the oral/aural tradition of songs that were sung at home without instruments...those were passed down in a more word for word fashion and some are quite ancient and can be traced back to France. But this is a whole different kind of music...no accordions or anything like that.

My advice to those living outside the tradition is--don't worry about what others think so much. Do what makes you happy and keep it real and close to your heart whatever you do. Don't worry about labels so much. Man, if I like Japanese koto music, then I would get one and play and not worry about what the Japanese thought about me...I guess that is what I am saying. Do what turns you on...whatever boils your crawfish. To almost requote myself from an earlier post..."Be an innovator, not merely an imitator." This is self-advice that I grapple with personally all the time.

Well said Chris.

I think some may be worrying way too much. I will not let my personal preference get in the way of respecting someone trying to express their ability. I personally prefer the old style sung in cajun, but if someone can change the lyrics, even in english, and make a good song, I say go head on, and dont worry what some may think. I think I would prefer someone make good english lyrics than try to parrot the french. The music itself is timeless.

What many dont realize is that what we consider traditional is music that was in the process of being transformed at the time it was recorded, and the music will continue to transform along with society. And we will just have to get used to the fact that as older musicians disappear, the cajun lyrics will continue to become less common.

Bryan,

Sadly, you may be right about as the older musicians "die out" French lyrics may become less common. Personally I don't want this to happen and I am doing everything that I am able to turn the tide if possible.

Unfortunately the reason French lyrics may become less common is because so few Louisianans use French as their language. Sadly today Louisiana (yes, even Southern Louisiana) is by the large part anglophone, not francophone; although some are bilingual. I mean many people respect the past and learn the songs in French and want to learn the language even better (like me) but the it seems that there are few my age (30s-40s) who are FLUENT in French. And there definitely not enough of those who are fluent to be a sizable audience for contemporary Cajun music...I mean there are not enough people who speak French in Louisiana to listen to and buy "new forms of Cajun Music sung in French."

There will always be a segment who treasures the past and appreciates it and wants to preserve some of it but for them, that music is the music of the 1900s and doesn't necessary include new compositions. I think we songwriters and band leaders/members in Cajun music are really facing a crisis today. How do you communicate and make music that communicates life of contemporary Louisiana in French if there is only about 1% of the population who is fluent in French and only about half those care anything about Cajun music! The answer so far has been for bands to go outside of our state and use the world as their audience. Certainly there are enough Francophones in the world who can appreciate new forms of Cajun music. And don't forget all the DANCERS...that has been the group that has really caused many of our bands to go on the road. Most of the dancers don't care if they can't understand the lyrics...they just like to dance! Bands can not make a living playing Cajun music in Louisiana...you have to travel.

Now what is interesting is what Travis Matte is experimenting with. His music is almost all in English and the people can acutally understand and laugh along with the lyrics...this has brought out a whole new audience in Louisiana and they might just be playing full time and making it...but it is not what you and I would call "cajun music" is it?! I like it all right but I don't know if I would like it all night!

If Cajun music is going to reflect current and contemporary Louisiana it is going to have English in it because that is the language that we now speak. I am not excusing it...it is just the facts. I go to CFMA meetings...they are conducted in English, the Le Cajun awards show--English, all television programs---English, Cajun music festivals--English, most of the "Cajun" radio shows (except for public radio KRVS who does not have to rely on commercial advertising support)--English. I don't like it...I miss Jerry Dugas on KJEF on Thu Fri and Sat morning...all in French including the commercials! And there were many others back then also. But I think it has died out because the people who speak French and have money to spend have died out. It is not the Cajun people's fault, it is just what has happened.

I don't think it is fair to put all the burden for saving the French language on Cajun music and Cajun musicians. Many times we get told it is up to y'all...well, no it is not. It is up to families, schools and governments if we are going to reclaim our dwindling use of Cajun French. If we are to truly save the language we can't rely just on the Cajun music audience! There are far to many people...families--adults and children--who need to know how to speak French who will never attend a Cajun dance or listen to Cajun radio or buy a Cajun CD. Believe or not...not everyone likes Cajun music (it's wrong, I know! :0)...there are not enough Cajun music fans in Louisiana to save be a large enough group to rise up and save the language. If it is important to us as a culture, then we need to be taking bigger and bolder steps to save it...Otherwise contemporary Cajun music is bound to be sung in English because contemporary Cajuns speak English.

My 2 cents...

Chris, you made a very good point there about dancers. They don't care if they can hear the lyrics in any language. The voice is just a different instrument to them, and each change of instrument gives the music a lift - kind of 'lifts' the dancers. ( you know all this - I'm just thinking out loud )

Still doesn't excuse the lack of French, though. Even though I might not understand it all, it still sounds better in French.

BJ

Chris, I certainly never want to imply any burden on musicians, or anyone else to save the language. I was just impying what I now grudgingly consider fact. Our language, like world war 2 veterans, is fading each year.

The burden to save our language is not on the musicians, but they happen the best vehicle (in my opinion) to help preserve it. People are more likely to get interested in our language through our music. My heart goes out to everyone of mine and your generation and younge trying to save the language, especially to you musicians because you are preserving more than just the language. But, with little interest in the youth, and resignation among the older generation....

Though I have very strong feelings and opinions about the loss of our language(though still alive now), and have at some point in my frustration blamed too much, all we can do now is preserve what we can (all aspects of our culture). And in that regard you are carrying more than your share of the burden, and I, for one, am thankful.

Bryan,

No, I did not mean to direct the entire post toward you, sorry. I don't know you except for the little I know of you from the board.

I also want to say that I enjoy dialog like this and I think it helps us (or me, at least) deal with issues like this and brainstorm for new vision.

First of all I want to say that I am passionately dedicated to preserving whatever can be saved of our music, culture, and language. It has driven me most of my life. I hope people will really read what I wrote a few times over because I think it is something that at least the Louisiana Cajun musicians must think about...and that all people concerned with the preservation of a culture have to come to terms with.

I think we should look at Nova Scotia and see what they have been doing with French. I don't know the whole story there but it seems like they are involved in a sort of renaissance...I know some adults there can't write in French but their children who have gone to school in French of course can.

What I mean to point out is that I don't think that Cajun music is a strong enough force by itself to cause a renaissance in the language. It has been tried quite a few times...Zachary Richard and others. It will take at least as much of a militant movement as he fronted to get any attention on the matter. I find myself frustrated when trying to promote music in French...and sometimes feel like the Lone Ranger. Do you know of any programs or resources for our Cajun musicians? Is there anything to help us turn the tide toward reclaiming our French?

With the news of Spanish-speaking immigrants in the forefront, I would think that proposing governmental programs and incentives for French language is not a popular idea in America at this time. There is already much criticism of the Spanish languages programs for immigrants from Mexico and other Latin American countries.

Some will say "it is not the government's place to teach a people its native tongue." Other will say "the families should keep it alive if they think it is that important." Personally, we are a generation or two late at this point. Parents can not speak French with their children because they can speak it themselves. There is still also a certain stigma that has lingered and many people don't want to be labeled as "backward-thinking" but want to be progressive. Speaking English was sort of sold to my Dad's generation like that...his parents stopped speaking French to the children and only used it to converse among themselves...this generation is where we 'lost it.' Speaking in English was seen as the way of the future...and also a future much better than the old ways of the past. Now we are a few generations removed from this and it will be very difficult to regain it.

I am not ready to give up or surrender. But I do think the question has to be asked...Can new, and relevant music be composed in French for Cajuns of today whose parents and even some grandparents do not speak French anymore? Probably yes...and to some extent no. People will always honor the past and their "roots" and will never totally abandon them, but I am afraid that much of the new music that Cajuns might compose that truly has lyrics that must be understood by the masses in order to be effective...I am afraid that the language more and more has to be English.

I am not just talking about our regular little dance tunes. I mean ballads and story songs...songs that parallel what you hear on mass radio...for contemporary Cajuns to express big ideas well, it seems that it is too difficult to do so in French.

And I guess what I am also trying to say is, is it right to tell an English-speaking Cajun that any music that they play must be in French for it to be considered Cajun? Cajuns are either bilingual or only fluent in English...you have to go way out in the woods or you have to go to the very, very old to find someone who only speaks in French. I understand the reasoning behind insisting that Cajun music be in French, but there is nothing else like that in our lives today, nothing that is all in French. In some ways I guess, that is the reason to keep in all in French...it is the last stronghold of our French language.

But I sometimes feel like I can not communicate with the younger generations when I am doing music all in French...it is a foreign language to them. To me there has to be some leniency and understanding that in order to get people involved you sometimes have to speak their language...and for the younger generation in Louisiana (right or wrong) that langauge is English.

Please anyone who has ideas, chime in. If you play Cajun music, I think you know what I am talking about. We face some real challenges. What do y'all think?

This merits a new topic, Chris. The future of French in Cajun culture and music. To me, Cajun music has done more than its share for reviving pride in the culture, and if you realize how much interest there is worldwide in the music, well, it's hard to believe but there it is! I would never have guessed!

Those were true words said to the effect that what we call traditional Cajun music today was truly once upon a time quite new, foreign to an older generation, and not always immediately embraced! Shucks, even the accordion we love and identify with Cajun music was new once upon a time. I guess for music lovers like us, music is too powerful a force to contain. Not too much planning we can do, IMO.

On my recent trip home to Louisiana, I picked up Shane Bernard's book The Cajuns: Americanization of a People, read it as fast as I could, and I am still reeling with mixed feelings. The book is a few years old now but still very relevant. Where it left off, if I understood it, is that the French immersion movement in public schools in Louisiana is encouraging, but we will have to wait and see. Some folks who know a lot more than I do affirm that you need French to survive in order for the culture to survive. The fact that I wrote that in English speaks volumes, and leaves me with a worried heart, for sure, but what can I say?

Hey Neal!
Glad you joined the topic!

Here's another book for you:

Acadian to Cajun: Transformation of a people
1803-1877
Carl A.Brasseaux
University Press of Mississippi

I need to get that book you spoke of...I love reading things like that.

I also enjoy those type books. Another I have that gave great insight into how the south Louisiana gumbo pot of diversity came to be put together is Carl Brasseaux's "French, Cajun, Creole, Houma-A Primer On Francophone Louisiana". Mr Brasseaux answers lots of questions.

Another one I loved was "Cajun Sketches", by Lauren Post written in 1962 largely about customs which were at that time dying. Lots of pics.

Dad, the geneology buff, gave me a stack of those type of books that I havent finished going through yet.

Chris I have many times wrestled with your same dilemas, and have come to the same conclusions. I think we have at least 2 problems here, interesting the youth in the music, and interesting them in the language. In a perfect world they would be interested in both. And if interested in the language, there would have to be more support from several different sources to make it work.

A young gentleman named Rocky Mckeon who has visited here occasionally has a radical idea that I didnt like at first, and the purist in me still doesnt like. But he proposes interesting the youth in the language, not with things of old, but the things they are interested in today. There will always be some kids interested in the old traditions, but most arent, or wont be until older. He sings rap songs in cajun (yeah I know, but think about it). He also comes up with cajun terms for things kids today talk about. Maybe, just maybe, if that approach might work to interest the youth in the language today, then maybe sometime they may become interested in the music, and other things also.

But for now, I feel the music style must also be preserved, even if in transition. If young people pick up an accordion and play cajun style, but sing lyrics in english, I would, with some lament, applaud them. It is, as you know, a result of factors that are not their fault. And maybe those with an interest in the music, might strive to learn the language.

I am trying to teach my kids what I can of the language, and they like the music some. Unfortunately I have moved to Texas and they only hear it from me (and they say it with a funny accent). But they know more than their cousins in the Mamou area, and that is sad, but not their cousins fault. When I see that picture of you with your family all playing cajun music, I can only hope you know how fortunate you are.

Hey that rap idea might not be so bad...I don't like a lot of rap but it is mainly because of the subject matter.

When I visited France a few years back, I saw the Jetsons in the Basque language! I starting asking around about the people and their language and I think I understand that they have had to struggle to keep their language alive and have it accepted by France and Spain. I thought to myself...what if we had cartoons in Cajun! What if our kids grew up on that...hmm...same feeling in Montreal when I visited. If we had as much French TV as they do then we would be getting somewhere! It is a virtual immersion! When all the digital cable and satellite TV...why not?

I think if you get popular music and TV in CAJUN French then you might could save it...that is the way to reach the younger generation...through pop culture probably.

Yep, that's kind of the idea. I invited Rocky to come join the converstation. I feel he is on the right track. Nobody understands the young folks like young folks do. And I really feel if they got interested in the language at a young age, by however means it took, at a later age they would take interests in the more traditional aspects. Now, how to elect Rocky governor.

Bryan;

Is this the same Rocky? See the website link above.

I have enjoyed his site a lot recently.

Peace,
Griff

That's him.

Ça, c'est juste le début de Rocky. Va 'oir les autres websites au-dessus. Mon, j'crois qu'i' faut prendre l'attention des enfants avec les affaires qu'EUSSE aime pendant qu'eusse est jeune.

That's just the beginning of Rocky. Check out the other sites above. I believe that it's necessary to grab children's attention with things that THEY like while they're young.

Peut etre tu devrais commence un autre linge, neg, c'est trop en bas.

Tant pire. Si eusse connaît pas comment venir en bas de la page, eusse va pas le 'oir. C'est juste comme ça.

Rocky

Well I want to thank all you folks for you opinions and leads.

As an old timey banjo picker I can not begin to count how many time I have heard completly diffrent words and titles to the same melody.

When these same tunes were slicked up in the 60's by the Kingston Trio etc. it peak the interest of an entire generation who went back to the musical roots. They creating a new crop of musician to preseve the original style.

I like the sound of Cajun music it is lively and toe tapping. I am suprised that it is not used to sell cereal or advertise water parks like Bluegrass has.

There will always be those musicians who preserve the original music form and those who expand on it possibilities. I would just like to hear more of it.


RPr