Fonts In Use
Specimen
The Clifton is a reinterpretation of the Athenian typeface that was distributed around 1896 by the British Type Foundry. It is also close to the Fantail typeface proposed by the American Type Founders. This typeface, with its inverted contrast compensates for the finesse of its stems through its imposing serifs that draw a black dot in the letter, thus providing a particular sparkle to a composition. Less contrasted than the drawing of reference and with its very important x-height, the Clifton has been designed as a body text typeface.
The italic is not a simple slanting of the roman but has its own design, very slender and mobile. It has nonetheless been designed as a duo, marking the difference and allowing for a strong contrast with the roman within a text.
Its style, located somewhere between Italians and Westerns, gives this typeface the American flavour of the latter but with a rawer touch, as if it had come straight from the Bayou. As a tip of the hat to this reference, its name pays tribute to musician Clifton Chenier, father of Zydeco, the style of black music from French Louisiana of the nineteen thirties.
2 Styles
Roman
Italic
R&B The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. R&B
Zydeco The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. Zydeco
Afro-Caribbean The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. Afro-Caribbean
The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin
Rock & Roll The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. Rock & Roll
West African tribes The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. West African tribes
The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin of the word “zydeco” is uncertain. One theory is that it derives from the French phrase “Les haricots ne sont pas salés”, which, when spoken in the Louisiana Creole French, sounds as “leh-zy-dee-co nuh sohn pah salay”. This literally translates as “the snap beans aren’t salty” but idiomatically as “I have no spicy news for you” signifying the speaker’s fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song It Ain’t Gonna Rain No Mo in 1929. Initially, several different spellings of the word existed, including “zarico” and “zodico”. In 1960, musicologist Robert “Mack” McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, and used the spelling “zydeco”. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier — who had previously recorded “Zodico Stomp” in 1955 — in his recording “Zydeco Sont Pas Salés”, after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for “dance” is “shi” (rhymes with “sky”) and their word for “the youths” is “ishol.” In 1528 Spanish people, the first Europeans to contact the Atakapa, translated “shi ishol” as “zy ikol.” Four hundred years later, the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a slightly evolved name: zydeco. Another possible root word for zydeco is as a West African term for Musicking. “However recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes “za,” “re,” and “go” are frequently associated with dancing and/or playing music”. Usually fast tempo and dominated by the button or piano accordion and a form of a washboard known as a “rub-board”, “scrub-board”, “wash-board”, or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The origin
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