A sweeping overview of Cajun music from early studies to the present.

Winner, James Beard Award for Best Book in U.S. Foodways Winner, IACP Book of the Year Winner, IACP Best American Cookbook An NPR Best Book of the Year A Saveur, Washington Post, and Garden & Gun Best Cookbook of the Year A Bon Appétit, Food & Wine, Eater, Epicurious, and The Splendid Table Best New Cookbook A Forbes Best New Cookbook for Travelers: Holiday Gift Guide 2021 Long-Listed for The Art of Eating Prize for Best Food Book of 2021 “Sometimes you find a restaurant cookbook that pulls you out of your cooking rut without frustrating you with miles long ingredient lists and tricky techniques. Mosquito Supper Club is one such book. . . . In a quarantine pinch, boxed broth, frozen shrimp, rice, beans, and spices will go far when cooking from this book.” —Epicurious, The 10 Restaurant Cookbooks to Buy Now “Martin shares the history, traditions, and customs surrounding Cajun cuisine and offers a tantalizing slew of classic dishes.” —Publishers Weekly, starred review For anyone who loves Cajun food or is interested in American cooking or wants to discover a distinct and engaging new female voice—or just wants to make the very best duck gumbo, shrimp jambalaya, she-crab soup, crawfish étouffée, smothered chicken, fried okra, oyster bisque, and sweet potato pie—comes Mosquito Supper Club. Named after her restaurant in New Orleans, chef Melissa M. Martin’s debut cookbook shares her inspired and reverent interpretations of the traditional Cajun recipes she grew up eating on the Louisiana bayou, with a generous helping of stories about her community and its cooking. Every hour, Louisiana loses a football field’s worth of land to the Gulf of Mexico. Too soon, Martin’s hometown of Chauvin will be gone, along with the way of life it sustained. Before it disappears, Martin wants to document and share the recipes, ingredients, and customs of the Cajun people. Illustrated throughout with dazzling color photographs of food and place, the book is divided into chapters by ingredient—from shrimp and oysters to poultry, rice, and sugarcane. Each begins with an essay explaining the ingredient and its context, including traditions like putting up blackberries each February, shrimping every August, and the many ways to make an authentic Cajun gumbo. Martin is a gifted cook who brings a female perspective to a world we’ve only heard about from men. The stories she tells come straight from her own life, and yet in this age of climate change and erasure of local cultures, they feel universal, moving, and urgent.

This teeming compendium of tales assembles and classifies the abundant lore and storytelling prevalent in the French culture of southern Louisiana. This is the largest, most diverse, and best annotated collection of French-language tales ever published in the United States. Side by side are dual-language retellings—the Cajun French and its English translation—along with insightful commentaries. This volume reveals the long and lively heritage of the Louisiana folktale among French Creoles and Cajuns and shows how tale-telling in Louisiana through the years has remained vigorous and constantly changing. Some of the best storytellers of the present day are highlighted in biographical sketches and are identified by some of their best tales. Their repertory includes animal stories, magic stories, jokes, tall tales, Pascal (improvised) stories, and legendary tales—all of them colorful examples of Louisiana narrative at its best. Though greatly transformed since the French arrived on southern soil, the French oral tradition is alive and flourishing today. It is even more complex and varied than has been shown in previous studies, for revealed here are African influences as well as others that have been filtered from America's multicultural mainstream.

Upon seeing a Louisiana-handmade diatonic accordion for the first time in 1957, a teenage Marc Savoy began a quest that arguably no one has come closer to achieving: to build the perfect Cajun accordion. Told in Marc's own words, Made in Louisiana is the story of the evolution of his Acadian brand accordions--but it is also the story of how an instrument once known as the "German-style" accordion became the iconic image of Louisiana's Cajun culture.

In 1946, Harry Choates, a Cajun fiddle virtuoso, changed the course of American musical history when his recording of the so-called Cajun national anthem "Jole Blon" reached number four on the national Billboard charts. Cajun music became part of the American consciousness for the first time thanks to the unprecedented success of this issue, as the French tune crossed cultural, ethnic, racial, and socio-economic boundaries. Country music stars Moon Mullican, Roy Acuff, Bob Wills, and Hank Snow rushed into the studio to record their own interpretations of the waltz-followed years later by Waylon Jennings and Bruce Springsteen. The cross-cultural musical legacy of this plaintive waltz also paved the way for Hank Williams Sr.'s Cajun-influenced hit "Jamabalaya." Choates' "Jole Blon" represents the culmination of a centuries-old dialogue between the Cajun community and the rest of America. Joining into this dialogue is the most thoroughly researched and broadly conceived history of Cajun music yet published, Cajun Breakdown. Furthermore, the book examines the social and cultural roots of Cajun music's development through 1950 by raising broad questions about the ethnic experience in America and nature of indigenous American music. Since its inception, the Cajun community constantly refashioned influences from the American musical landscape despite the pressures of marginalization, denigration, and poverty. European and North American French songs, minstrel tunes, blues, jazz, hillbilly, Tin Pan Alley melodies, and western swing all became part of the Cajun musical equation. The idiom's synthetic nature suggests an extensive and intensive dialogue with popular culture, extinguishing the myth that Cajuns were an isolated folk group astray in the American South. Ryan André Brasseaux's work constitutes a bold and innovative exploration of a forgotten chapter in America's musical odyssey.

From the "Introduction": I first stood on Louisiana soil in Lafayette during May of 1982. There, I found myself standing at the crossroads of another culture. Shortly after, I heard about a Clifton Chenier gig scheduled for the next day at the Grant Street Dancehall. Clifton was very ill and could not perform that night, so Rockin' Dopsie filled in. That evening someone gave me Ambrose Thibodeaux's name and address written on a paper napkin. This is how it went every trip I took"€"acquiring names of musicians scribbled on little pieces of paper or cardboard beer coasters. . . . . This is my story"€"how I discovered Cajun music and its musicians. Several times I went back; time and again I was surprised by the cultural endurance of this relatively small group of people. Both old and young keep their history alive through a simple bond"€"the culture, the language, and the songs of their ancestors. . . . This is not a historical document about these people and their music, and it is far from complete when it comes to even musicians. These images instead record my journey into a culture that continually captivates me.

"This work serves as a model for compiling ethnohistories of other nonliterate peoples."--BOOK JACKET.

The virtual renaissance of all things Cajun and Creole has captivated enthusiasts throughout America and invigorated the culture back home. Who, just fifteen years ago, could have predicted that this regional music would become so astonishingly popular throughout the nation and the world? This new edition of a book first published in 1984 celebrates the music makers in the generation most responsible for the survival of Cajun music and zydeco and showcases many of the young performers who have emerged since them to give the music new spark. More than 100 color photographs, show them in their homes, on their front porches, and in their fields, as well as in performance at local clubs and dance halls and on festival stages. In interviews they speak directly about their lives, their music, and the vital tradition from which their rollicking music springs. Many of the legendary performers featured here--Dewey Balfa, Clifton Chenier, Nathan Abshire, Dennis McGee, Canray Fontenot, Varise Connor, Octa Clark, Lula Landry, and Inez Catalon--are no longer alive. Others from the early days continue to perform--Bois-sec Ardoin, Michael Doucet, D. L. Menard, and Zachary Richard. Their grandeur, humor, and humility are precisely the qualities this book captures. Featured too are young musicians who are taking their place in the dance halls, on festival stages, and on the folk music circuit. Cajun and Creole music makers, both young and old, still play in the old ways, but as young musicians--such as Geno Delafose and the French Rockin' Boogie, and Steve Riley and the Mamou Playboys-- experiment and enrich the tradition with new sounds of rock, country, rap, and funk, the music evolves and enlivens a whole new audience. Barry Jean Ancelet, a native French-speaking Cajun, is chair of the Department of Modern Languages and director of the Center for Acadian and Creole Folklore at the University of Southwestern Louisiana. Among his many books are Cajun Country and Cajun and Creole Folk Tales (both from the University Press of Mississippi). Elemore Morgan, Jr., is an artist and retired professor of visual art at University of Southwestern Louisiana.