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        “O je suis après travailler Soleil lever jusqu’à soleil choucher, O tout la journée O dans le clos Pour aider à ma mere et mon pére. / I’m working sun up to sun down, all day long in the field, to help my mother and father make ends meet” (Louisiana Radio Record, 2000), Goldman Thibodeaux describes his youthful life in his song “Goldman’s Hard Times.”  This story sounds like a kind of Blues, but he sings this story to Creole music.  Now many people go to dance halls to enjoy dancing to Zydeco every weekend in southwest Louisiana.  House dances had played the same role in communities before dance halls and night clubs were established, and traditional Creole music and old bluesy Zydeco had played the same role in dances before current new Zydeco.  Therefore, the type of venue and the style of music have changed, but such an entertainment seems to last forever.  Zydeco is the black French country music, and it has been influenced by Cajun, Afro-Caribbean and Afro-American music (Martin, 2004).  Since Zydeco has changed its style for many generations, there are some styles of Zydeco.  Juré is old style unaccompanied group singing music with the strong beat, and basically it is sung in French (Ancelet, 2004).  There are few opportunity to touch Juré now, but we can listen to some songs of Juré which recorded by Alan & John Lomax on the CD “The Classic Louisiana Recordings: Cajun and Creole Music II, 1934-1937” (Rounder, 1999).  La-la or Pic-nic is also old style music sung in French, but it has been played for house dances by acoustic instruments, and Zydeco is the expression that replaced La-la or Pic-nic (Savoy, 1984).  On one hand, Creole music refers to such traditional music and old style Zydeco like some songs of Clifton Chenier, John Delafose and Boozoo Chavis, and it is mainly sung in French.  On the other hand, current new Zydeco is played by amplified instruments, and it is mainly sung in English.  Now many people, especially the young, prefer such new style Zydeco because its lyrics in English are easy to understand, and its strong and funky beat is comfortable to dance.  However, Creole music is so wonderful and precious that some people exert themselves to preserve and propagate it, and Goldman Thibodeaux is one of the most precious and active Creole musicians.


        Current new Zydeco, such as Keith Frank and the Soileau Zydeco band and Geno Delafose and French Rockin Boogie, is popular in southwest Louisiana now.  Many Zydeco bands consist of five members, an accordion, scrubboard, bass, drums and guitar, and most instruments are amplified and played loud.  The bands mainly play at Zydeco dance halls, but they often play at private parties, church dances and trail ride dances too.  The repertoire of Zydeco is full of variety, such as R&B, Blues, Rock and even Hip Hop now, and many songs are sung in English, but some bands still play standard songs in French.  Zydeco plays a role as a major popular music in southwest Louisiana, and it has produced many hit songs, such as recent hit songs, Horace Trahan’s “That Butt Thing” and Keith Frank’s “The Mill.”  Moreover, Zydeco has set the latest trend in dances, and Michael Seider, who is a Zydeco dance instructor, says that the current trend of Zydeco dance is “slide.”
        Meanwhile, there are less opportunities to experience traditional Creole music than Zydeco.  Essentially Creole music has been played for house dances by simple acoustic instruments, such as an accordion or fiddle solo, an accordion and fiddle duo or a combo which consists of accordion, fiddle, triangle or scrubboard.  Because the loud amplified sound of Zydeco at a large dance hall is the mainstream, the acoustic sound of Creole music at house dances seems to be quiet, but the acoustic sound which is produced by  collaboration between an accordion and fiddle is very unique and still comfortable to dance. Creole music has influenced Zydeco and Cajun music strongly.  Especially the music of legendary Amédé Ardoin has been very influential in the music scene of southwest Louisiana all the time.  We can listen to Creole music at festivals, events and house dances still now.  Allen classified Creole musicians as “Black Cajun musicians” in his book, and he explains that Creole music can still be enjoyed at local, national and international music festivals (1988).   who is the cousin of Amédé Ardoin and the greatest Creole musician alive, has played traditional Creole music at festivals not only in United States but also in Canada and Europe since he played at the Newport Folk Festival in 1966, and he has played at dance halls and house dances too (Ancelet, 1999).  Alphonse “Bois Sec” Ardoin, who was born in 1916, is not so active now because of his old age.  However, Goldman Thibodeaux still now plays Creole music actively, and he gives us many opportunities to experience real Creole music.


        “Mr. Goldman Thibodeaux is The Creole Encyclopedia,” Paul Scott, the director of the Original Southwest Louisiana Zydeco Music Festival, says (Hatano, 2004).  Goldman Thibodeaux is one of the few musicians who can play real traditional Creole music now, and he is a real treasure to southwest Louisiana.  However, because he began his career as a musician late, there are few information about him, and I can’t find his name in any books at the present time.  Thus, to meet with him personally is necessary in order to learn about him, and most of the following information was obtained by the interview with him on April 9th, 2004.  Goldman Thibodeaux was born a son of a sharecropper, Anatole Thibodeaux Sr. and a house wife, Josephine Carrière, on August 5th, 1932 in a small community between Lawtell and Lewisburg, Louisiana, and he grew up there.  Since he learned Creole French from his mother in his childhood, his first language is Creole French.  However, because he learned English also from his mother, he can speak English also.  People, who are as same age as him or a little younger than him, around the community still now speak Creole French, and he speaks it everyday.  He likes to speak and teach Creole French, and he considers it important to pass the tradition of speaking Creole French down from generation to generation.  He had worked as a sharecropper and construction worker for many years.  When he had construction works in Lake Charles, he woke up at three o’clock in the morning, his wife prepared his food and things, and a bus picked up him at four o’clock.  He worked from seven o’clock to half past three afternoon as a construction worker, and then he came back to home and worked in the fields as a sharecropper until nine or ten o’clock at night.  He brought up two sons with such great pains, and he describes these pains in his song “Goldman’s Hard Times.”  He says that the song tells the exactly truth, but now it is a good memory for him.
        Surprisingly, Goldman Thibodeaux began to play accordion when he was fifty two years old.  However, he had loved music and radio so much, and he had whistled, sung and played scrubboard before he began to play accordion.  His parents had twelve children, but no family member played music.  He used to listen to radio during working in the fields, and he learned many traditional Creole songs by himself from radio.  Delton Broussard and Calvin Carrière encouraged him to play accordion because they knew that Goldman could sing traditional Creole songs well, and he could dance also.  Goldman got his first accordion from Elton Doucet, who is an accordion builder in Richard community between Church Point and Eunice, and then he got a Bon Tee Cajun accordion made by Larry Miller in Iota.  He likes to play E key and B flat key accordions, but he often plays a C key accordion because he often plays with fiddle players.
        Delton Broussard and Calvin Carrière were very close friends of Goldman Thibodeaux.  They often visited each other with their wife, and they enjoyed playing Creole music and eating Creole food which their wife cooked.  Goldman learned to play Creole music through such great companies.  He truly respects the friends, and he considers that they were nice and kindhearted.  Calvin Carrière was a fiddle player and a la-la artist (Oliver & Sandmel, 1999).  He was the son of Eraste Carrière and nephew of Bébé Carrière, the founders of the Lawtell Playboys (Tisserand, 1998).  The Lawtell Playboys was established in 1946, and they had played four hours sets for long time at Slim’s Y-KiKi in Opelousas, Richar’s Club in Lawtell, Triangle club in Frilot Cove and house parties.  After they stopped playing, they passed the band title to Calvin Carrière and Delton Broussard (Tisserand).  Delton Broussard had led the Lawtell Playboys actively, but he passed away in 1994 (Tisserand).  However, now his son Jeffery Broussard is active in the front line of the Zydeco scene as the accordion player and singer of Zydeco Force.  Goldman lost his especial friend Delton Broussard, but he took over the head and the accordion player of the Lawtell Playboys from Delton.  Afterward, Goldman with Calvin Carrière had a recording and played at festivals actively.  However, sad to say, his important collaborator, Calvin Carrière, passed away in Opelousas in 2002 at the age of eighty (Simpson, 2003).  Now Goldman Thibodeaux keeps the renowned Lawtell Playboys alive with the support of younger generations, such as D’Jalma Garnier and Cedric Watson.
        Goldman Thibodeaux says that he plays real Creole music, such as Amédé Ardoin and Bois Sec Ardoin, and old-time Zydeco, such as Clifton Chenier, John Delafose and Boo Zoo Chavis.  Although he likes current new Zydeco too, he doesn’t play it.  He loves to play old-time Zydeco, such as Clifton Chenier “Oh, my Lucille”, John Delafose “Joe Pitre a deux femmes” and BooZoo Chavis “Paper in my shoes.”  Of course, he loves to Creole music also, such as Bois Sec Ardoin “Chère ici, chère là-bas” and Amédé Ardoin “Les blues de voyage.”  Goldman explains that there are the same songs in Creole and Cajun music like “J’ai été au bal” and “Eunice two Step,” but Creole music is more bluesy than Cajun music, and that Creole music is older and more traditional than Zydeco.  He recognizes that there are few people who play real Creole music now.  He considers that the first musician who plays Creole music now is Alphonse “Bois Sec” Ardoin, and Goldman comes next to Alphonse “Bois Sec” Ardoin.  Goldman respectfully calls Alphonse “Bois Sec” Ardoin “Mr. Bois Sec.”  Because he has kept touch with Creole music since his childhood, he states that Creole music is his roots, and it is very important for him to pass the tradition of real Creole music down from generation to generation as well as Creole French.
        Goldman Thibodeaux considers that Amédé Ardoin is the best Creole musician he has ever met.  Amédé Ardoin is one of the most influential musicians not only in Creole music but in Zydeco and even in Cajun music, and his legendary performances are recorded on the CD “The Roots of Zydeco; I’m Never Comin’ Back” (Arhoolie, 1995).  Goldman gives a vivid description of Amédé Ardoin.  He saw Amédé Ardoin when he was nine or ten years old.  Since there was no night club in those days, he often went house dances, which were usually held on Saturday night or Sunday afternoon, with his parents and his other family.  One night he went to a house dance which was held three miles north of Lawtell to see Amédé Ardoin.  At the house dance, the furniture was carried out from the rooms to make space for playing music and dancing.  He remembers that Amédé Ardoin was a short and small man.  Amédé sat by the window, homemade wooden window and no glass, and he played by himself with no amplifier and no band.  He played and sang for three and a half hours by himself, and the sweat was pouring on his face.  A hat was passed around after the music, and everybody put money into the hat.  Since Amédé Ardoin didn’t have the accordion case, he packed his accordion in a white sack.  The family of the house dance invited him to eat some food, but he said that he had to go to Eunice to play for another house dance, and he left there.  Goldman says definitely that nobody can play such great Creole music like Amédé Ardoin.
        Goldman Thibodeaux plays so actively these several years that his activities are wide and various.  He recorded his performances with Calvin Carrière, and the recording was released as his first CD “les misères dans le cœur: Goldman Thibodeaux & Calvin Carrière” from Louisiana Radio Records in 2000.  The review of Offbeat magazine (2001) describes the recording as “the soulful Lawtell Creole style” and “a jewel of an album.”  Next, he released his second CD “Gumbo at Goldman’s: Goldman Thibodeaux & the Lawtell Playboys” in 2003.  Louisiana Radio Records Web Site (2003) announced his latest CD “Gumbo at Goldman’s” won the pre-nomination for the 46th annual Grammy awards.  Both of recording sessions were held in his living room.  He carried the furniture to his backyard from the room, and recording equipments were set in another room and even in dining room.  Coffee, cold drinks, cold water and snacks were prepared, and the CDs were recorded in such a relaxed atmosphere.  He won “Most Traditional Zydeco Band” and “Bois Sec Heritage Award” of the Bi-Annual Zydeco Music and Creole Heritage Awards, which was organized by C.R.E.O.L.E., Inc., in 2003.  Acadiana Open Channel in Lafayette broadcasted the ceremony of the award.  He is really pleased at the awards.  Now he plays music mainly at festivals, events, and parties.  He has played at New Orleans Jazz and Heritage Festival for these five years, and he played at the Original Southwest Louisiana Zydeco Music Festival in Plaisance in 2003.  He also plays at parties, such as birthday, wedding and other anniversary parties.  Furthermore, he teaches Creole music at events and colleges.  He taught at Augusta heritage center last year, and he will teach there in July 2004 (Augusta Heritage Center, 2004).  Many people come to learn Creole music not only from California and New York but from foreign countries like Canada.  He says that he likes to teach Creole music, and he is pleased that the young generations want to play Creole music.
        His wife Theresa L. Thibodeaux considerably contributes to his music, and she also works hard on Creole culture.  She was also born in Lawtell.  She and Goldman have known each other since they were small children, and they grew up together.  They enjoy music and dance together so much that they won the dance contest at LSUE.  She learned cooking from her grandmother in her childhood, and she had worked as a cook of Lawtell elementary school for many years.  Although she was retired once, her cooking was so popular among the students that she returns to her job, and she is called “Mom” by the students now.  Sometimes she teaches cooking at the festivals.  Her favorite recipes are gumbo, chicken fricassee and rye bread and corn bread.  Since everybody likes her gumbo and comes to eat it, Goldman’s latest CD was named “Gumbo at Goldman’s.”  Because she usually negotiates Goldman’s schedule, performance fee and everything, she actually manages his jobs as his manager and agent.  My friend, who knows Goldman and Theresa well, says that if you want to see Mrs. Theresa, you should find Mr. Goldman because she is always with him.
        Goldman Thibodeaux lives in an old but well-repaired house with his wife now.  The house is along Hwy 190 in Lawtell and next to Frank’s Ranch, a Zydeco dance club, and it faces the junction of Hwy 190 and Hwy 103 from Plaisance where the Original Southwest Zydeco Music Festival takes place.  During this interview he told me some moral stories, for example “Do the right things,” “Don’t harm people,” “Love people,” “Be yourself,” “Don’t look down on people,” and “Be a nice person.”, and then he showed me his neat backyard as we walk around.  It was very comfortable time, and he has a magic talent for making people feel happy.  Everybody who knows him says that he is truly good person and great musician.  Through the interview, I realize why everybody says so and that he has a really great view of life.  Creole music has played a great role in his life since his childhood, and he says that his dream is to keep on playing Creole music.  Goldman Thibodeaux is a real treasure to southwest Louisiana, and to realize his dream is very important for southwest Louisiana.


        In conclusion, while new Zydeco at dance halls is the mainstream in southwest Louisiana now, traditional Creole music also is played actively still now at festivals, events and private parties, and many Creole musicians exert themselves to preserve and propagate Creole music.  Preston Frank often plays with his son Keith Frank and his other family members as Preston Frank and Frank Family Band.  Dexter Ardoin, the grandson of Alphonse “Bois Sec” Ardoin and son of Morris Ardoin, is young, but he plays Creole music which has come down to him from his father and grandfather.  Of course, elder Ardoin family, Alphonse “Bois Sec” Ardoin and his sons Morris and Lawrence, also still work hard to play Creole music.  Moreover, the great Creole fiddle players, such as Eddie Poullard and D’Jalma Garnier, actively collaborate with accordion players, and they play in the Creole string bands.  These musicians teach the young generation Creole music at the festivals and events.  Finally, Goldman Thibodeaux started his career as a musician late, but he took over the Lawtell Playboys, and he is keeping the renowned name and music alive.  Recently he plays with the young generations, such as young Creole fiddle player Cedric Watson and young Zydeco accordion player Corey Young, at festivals and events.  Furthermore, he teaches Creole music at colleges and festivals, and he has had two CD recordings.  Creole music flourishes as long as Goldman Thibodeaux pursues his dream, and his dream will incite the young generations to keep Creole music alive.

 

        Allen, J. (Ed.). (1988). Memories: A pictorial history of south Louisiana music 1920s-1980s (volume one south Louisiana and east Texas musicians). Lafayette, LA: Johnny     Allen/JADFEL Publishing.
        Ancelet, B. J. (1999). Cajun and Creole music maker: Musiciens cadiens et Créoles. Jackson, MS: University Press of Mississippi.
        Ancelet, B. J. (2004, February). Cajun Music and Zyeco. Music class at Universty of Louisiana at Lafayette, Lafayette, LA.
        Cajun/Creole Week (2004). Augusta Heritage Center 2004 Catalog. Augusta Heritage Center, p. 42.
        Grammy Prenominations, (2003), Announcements. Retrieved April 10, 2004, from Louisiana Radio Records Web Site:  http://www.louisianaradio.com/
        Hatano, J. (2004, April 9). [Interview with Goldman Thibodeaux, Creole musician].
        Hatano, J. (2004, April 23). [Interview with Paul Scott, The director of The Original Southwest Louisiana Zydeco Music Festival].
        Martin, G. M. (2004, March). Creole and Black music in Louisiana. Music class at Universty of Louisiana at Lafayette, Lafayette, LA.
        Oliver, R., & Sandmel, B. (1999). Zydeco!. Jackson, MS: University Press of Mississippi.
        Savoy, A. A. (Ed.). (1984). Cajun music: A reflection of a people (volume I). Eunice, LA: Bluebird Press.
        Simpson, D. (2003). Goldman Thibodeaux and Calvin Carrière. Retrieved April 10, 2004, from Contemporary Cajun, Creole, and Zydeco Musicians Web Site: http://www.lsue.edu/acadgate/music/gthibodeaux.htm
        Tisserand, M. (1998). The Kingdom of Zydeco. New York, NY: Arcade Publishing.
        Willging, D. (2001) Reviews Goldman Thibodeaux & Calvin Carrière Les Misres Dans Le Coeur (Louisiana Radio Records). Retrieved April 10, 2004, from Offbeat magazine Web Site: http://www.offbeat.com/

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Amédé Ardoin. (1995). The Roots of Zydeco “I’m Never Comin’ Back”. El Cerrito, CA: Arhoolie.
             


Goldman Thibodeaux and Calvin Carrière. (2000). Les misères dan le coeur. Lafayette, LA: Louisiana Radio Records.
              


Goldman Thibodeaux and the Lawtell Playboys. (2003). Gumbo at Goldman's. Lafayette, LA: Louisiana Radio Records.
          

Lomax, A., & Lomax, J. (Recorder). (1999). The Louisiana Recordings: Cajun & Creole Music I 1934/1937. Cambridge, MA: Rounder Records.
             

Lomax, A., & Lomax, J. (Recorder). (1999). The Louisiana Recordings: Cajun & Creole Music II 1934/1937.  Cambridge, MA: Rounder Records.
             


        This research paper was written for Ms. Mathilda G. Martin's Creole and Black Music in Louisiana class as a final project.

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©2003 Jiro "Jireaux" Hatano