Notes
249 Notes Chapter 1. Prelude: Down At The Twist And Shout 1. Carpenter 2003, p.c. Michael Doucet remembers that “the place, the club of people, the group of people were called Twist and Shout. And we used to play at a VFW, just like in Louisiana.” The club would bring Beausoleil up to play for a dance, and Doucet recalls meeting Carpenter at one of these events before she received her major recording contract with Sony. Later, when she approached him to make the record, he agreed (Doucet 2004 interview). 2. Clifford 1992, 1997. For other examples of this type of ethnographic analysis of popular song, see Cheesman 1995, Martinez 1995, Busteed 1998. 3. Ancelet and Morgan 1984, 16; Brasseaux 1992. In this book the term American is used only for this Louisiana French meaning of it; if it appears in quotes, this is only as a reminder to the reader of this special meaning. Where the more usual sense of the term is needed, i.e., pertaining to the United States of America, “United States” or “U.S.” will be used. 4. Parsons 1993. 5. Meintjes 1990 (on Paul Simon); Taylor 1997 (on other world music collaborations). 6. Doucet 2004 interview. According to him, the production and arrangement of the song were all due to Carpenter and John Jennings, her guitarist and production partner. He modestly claims his only contributions to the arrangement in the original recording were the opening fiddle solo passage and a suggestion for how to end the song. What he would not say, and yet what presumably was the case, was that he and Breaux and Ware were there in part to establish the Cajun two-step rhythmic foundation for the performance, and Carpenter’s professional musicians were able to fall right in behind. 7. Seeger 1977; Small 1998; Doucet 2004 interview. “Musicking about music” is my own phrase inspired by the combination of Seeger’s ruminations on speech about music and Christopher Small’s coinage and explication of the verb form musicking. 8. Kelly and Godbey 1992, 14. 9. Csikszentmihalyi 1988, 34. 10. Csikszentmihalyi 1988, 34. 11. Leblanc 2000 interview. 12. Ancelet, et al 1991, 46–49. 13. Thompson and Thompson 1997 interview. 14. Doucet 2004 interview. The live recording from Carpenter’s Super Bowl performance does not end this way. For more on creative use of the Cajun accordion’s idiomatic possibilities, see DeWitt 2003. 15. Gupta and Ferguson 1997, 37; MacCannell 1999, 8. 250 notes Chapter 2. Identity Issues, Research Methods, and Ethnography 1. Hall 1989, 10. 2. Bendix 1997; Emoff 1998. 3. Bendix 1997, 17, 7, 159–87. 4. Kivy 1995, 1–12, 108. 5. Brasseaux 1991, 67; Hebert 1993; www.acadianmemorial.org 2006; Brasseaux 1987; Brasseaux 1992; Brasseaux 1989; Bernard 2003; Brasseaux 1988. 6. Dominguez 1986, 15, 150, 152. 7. Ancelet and Morgan 1984, 16. 8. Whatley and Jannise 1981, iii. 9. Olivier and Sandmel 1999, 15. 10. Spitzer 1986, 23; Brasseaux et al. 1994, 4–5; Rogers 1993, 4; Tregle 1992, 141; Dormon 1996, 169. 11. See Brasseaux 1991 for a detailed breakdown of where the Acadians dispersed in the decades following their 1755 expulsion. Only a fraction finally settled in Louisiana. 12. Dormon 1983, 63–71. 13. Dormon 1983, 70. 14. Bernard 2003, 18–19, describes the wartime atmosphere. 15. Dormon 1983, 35; Louisiana Writer’s Project 1941; Means 2003. 16. Bendix 1997, 113–15. 17. Cantwell 1993, xv; Bendix 1997, 8. 18. Kirshenblatt-Gimblett 1998, 52; DeWitt 1999. 19. Savoy 1984. Prior to the recording era, there are earlier eyewitness accounts of musicmaking and even musical transcriptions of Creole folk songs, such as in Allen, Ware, and Garrison’s 1867 volume, Slave Songs of the United States. 20. Lomax 1987; Lomax and Lomax 1941; Lomax 1942, Album V; Whitfield 1939; Bendix 1997, 146–49. See also on discography: Rounder 1842, 1843. 21. Ancelet 1989a, 19–20; personal communications with musicians; Spitzer 1986, 325; Tisserand 1998, 51–65. 22. Spitzer 1986, 320–21; Ancelet and Morgan 1984, 73. Swallow LP-8003-2; Rounder 6009; Arhoolie/Folklyric 7007. 23. Ancelet 1989a, 27–32; Ancelet 1989b, 4–5; Hall 1991, 35. 24. Stivale 2003; Frith 1996, 121–22. 25. Bauman 1996, 18, original emphasis. 26. Bauman 1996, 19; Hall 1989, 16. 27. Titon 1993, 222. 28. Sue Schleifer, former executive director of Ashkenaz, p.c. 29. Bauman 1996, 29. 30. Bernard 2003, 114. 31. Bernard 2003, 124; Ancelet 1992. 32. Kershaw 1991, 242; Bendix 1997, 89–94, 105–18...
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