Category Archives: People

03/26/25

Le matelot de Montréal

from Turtle Mountain Music  

(performance by Delia LaFloe) 

Strophe  Rhyme  Line  Text 
A  a  1  Grand dieu, tiens, le temps est long(e).  
  b  2  Que le temps qu’il est ennuyant. 
  c  3  Je m’en vais laisser les voir pour aller dans mon pays. 
  d  4  Pour aller dans mon pays, la ville de Montréal(e).   
  e  5  Pour aller voir m’aime qu’elle est la plus aimable. 
B  f  6  Toutes les gaies (gaietés) que j’ai dans ce monde c’est mon père ou c’est ma mère 
  a  7  donc mes frères et donc mes oncles et mes tantes pareillement 
  g  8  Le cœur de ma Clarisse que j’aime bien comme mama 
  e  9  j’espère qu’on la verra car elle est la plus aimable. 
C  h  10  Qui l’a composée la chansonnette? C’est un jeune, un matelot. 
  i  11  C’était un jour qu’il était en plein voyage qu’il l’a chantée tout du long 
  e  12  Qu’il l’a chantée tout du long qui était bien véritable. 
  j  13  Adieu, ma chan’ pillée. Adieu, ma chan’ sauvage. 

 Text Notes: 

  • French text was retrieved through the “Plains Chippewa/Metis Music from Turtle Mountain” album liner notes. 
  • Line breaks provided in the translation differ from the liner notes to align with strophes as identified in this analysis per the accompanying recording. 
  • The provided translation below differs from the liner notes to provide more direct and detailed translations of each line. 

English Translation: 

Grand dieu, tiens, le temps est long[e]*. Que le temps qu’il est ennuyant. 

Great God, time is boring. 

Je m’en [vais]** laisser [les voir]** pour aller dans mon pays. 

I’m going to leave them to go to my country. 

Pour aller dans mon pays, la ville de Montréal[e]*.  

To go to my country, the city of Montreal. 

Pour aller voir m’aime qu’elle est la plus aimable. 

To go see my love, she is the kindest. 

 

Toutes les gaies que j’ai dans ce monde c’est mon père ou c’est ma mère 

All the joys I have in this world is my father or my mother 

donc mes frères et donc mes oncles et mes tantes pareillement 

so (too)*** my brothers and so (too)*** my uncles and aunts alike. 

Le cœur de ma Clarisse que j’aime bien comme mama 

The heart of my Clarisse, whom I love like I do my mother 

j’espère qu’on la verra car elle est la plus aimable. 

I hope we will see her because she is the kindest. 

 

Qui l’a composée la chansonnette? C’est un jeune, un matelot. 

Who composed the little song? It was a young man, a sailor. 

C’était un jour qu’il était en plein voyage qu’il l’a chantée tout du long 

It was a day when he was in the middle of a voyage that he sang it all the way through 

Qu’il l’a chantée tout du long qui était bien véritable. 

He sang it all the way through, which was very true. 

Adieu, ma chan’ pillée. Adieu, ma chan’ sauvage. 

Farewell, my stolen song. Farewell, my wild song. 

 

*An extra “e” has been added as a sung syllable 

**Text may differ from the recording 

***Added for clarity in English, however a direct translation cannot be found in the original text. 

 

Laforte classification: Strophic 

  • Fixed form of 4 lines per strophe, with each verse ending with a couplet 
  • A narrative revolving around idyllic love (of a presumed lover and family, as well as country) and traveling. 

Narrative: 

A sailor is away from home; his home being Montreal. He begins with exclaiming to God about how long and lonesome it is. The song progresses into him deciding to go back. While on this journey back, he envisions seeing his family again; whom of which, bring joy to his life. The song ends in a third point perspective of the performer, explaining the origins of the story and their own sympathies to his story. 

Historical Context: 

This song is part of a collection of music recorded by the Chippewa and Cree Metis peoples from the Turtle Mountain Chippewa Reservation in North Dakota. The narrator in the beginning of the song had likely been living in the reserve and begun hoping to return to his home, Montreal. The liner notes indicate he was bidding “adieu” to aboriginal people. Along with this note, the original text being in French, and attributing Montreal to home, there is a good probability that the original singer was from Québec. 

Full French text being sung by a métis (Delia LaFloe) in a traditional chanson style reflects the close interaction of early French settlers with Indigenous groups. The connection between groups in North Dakota and Montreal also goes to show the distance the fur trade encouraged movement throughout Canada and the United States. The entirety of the song is perpetuated by a sense of longing for familial relationships and community.  

The shift in perspective of the last strophe, and the use of the word “pillée” on the last line, might indicate that this yearning has not yet been fulfilled by the singer. Alternatively, it may also be referring to inevitable separation from family members caused by having to move during the period of fur trading. Regardless of its exact meaning, the last strophe signifies that this story has significance that holds true to the experience of the residents of Turtle Mountain. 

Suggested sources:

Smithsonian Folkways Recordings 

Related contents:

Ojibwe

Métis

03/20/25

Stéphane Venne (1941–2025)

Stéphane Venne (1941–2025) was an influential figure in Francophone music, known for his evocative compositions that shaped Quebec’s cultural landscape. His songwriting reached audiences across the Americas, bridging the gap between French-language music and broader international recognition. His influence extended beyond his own performances, as his compositions were popularized by artists such as Renée Claude and Isabelle Pierre, ensuring their lasting impact on Francophone musical traditions (SOCAN Magazine, 2025).

Venne taught himself music and began composing at the age of 15. By the 1960s, he was writing and arranging songs for various Quebec artists, later launching his own performance and recording career. He released three LPs under his name between 1965 and 1967, helping to establish him as a leading figure in Quebec music, and later, his career gained significant momentum when he became head of production at Barclay Canada (1967–72), where he produced numerous hit songs, including “Le Début d’un temps nouveau” for Renée Claude and “Le Temps est bon” for Isabelle Pierre.

Venne was known for breaking down the barriers between traditional chansonniers and pop artists, adapting French versions of American hits for Quebec performers. His ability to merge lyrical depth with pop sensibilities made him a demanded songwriter and producer. He wrote over 50 songs for Renée Claude, including “Le tour de la terre” and “Tu trouveras la paix,” as well as numerous tracks for Isabelle Pierre and Emmanuelle, such as “Le monde à l’envers” and “Et c’est pas fini”.

In 1972, Venne co-founded the music production company Sol-7 and continued to develop his own work, including the orchestral album Stéphane Venne en dix chansons orchestrales recorded in Paris. He also played a pivotal role in promoting Francophone music through initiatives such as Superfrancofête (1974) and Chant’Août (1975). In April 1977, he launched CIEL-FM, the first radio station in Quebec dedicated entirely to Francophone music. He also served as president of SOCAN (1977–78).

Beyond composition, Venne contributed to film, composing music for Les Mâles, Les Plouffe (winning a Canadian Film Award for Best Song and Film Music in 1982). His music remains a vital part of the Francophone musical heritage, continuing to resonate with audiences through nostalgic reinterpretations and contemporary adaptations.

Sources:

  • The Canadian Encyclopedia. “Stéphane Venne.” Historica Canada, 2024. https://www.thecanadianencyclopedia.ca/en/article/stephane-venne-emc
  • SOCAN Magazine. “Death of Stéphane Venne: An Outpouring of Tributes to an Exceptional Songwriter.” 2025. https://www.socanmagazine.ca/news/death-of-stephane-venne-an-outpouring-of-tributes-to-an-exceptional-songwriter
  • Canadian Songwriters Hall of Fame. “Stéphane Venne.” 2017. https://www.cshf.ca/songwriter/stephane-venne/
03/19/25

Claude DuBois (1947-)

Claude DuBois 

[4] Claude André Dubois is a Canadian songwriter born on April 24, 1947. Known for his emotionally rich music, Dubois explores themes of longing, identity, and complexities of human ambition. [1] His journey in music began at just 12 years old when he joined the band Les Montagnards, starting off with an LP (vinyl record) release at 17, he was already entertaining audiences at Le Patriote in Montréal, and he made his solo debut the next year. His big break came in 1967 when he won the Renée-Claude trophy and showing his talent at Expo 67, really put him on the international stage. Over time, he changed his music from traditional chanson to being more rock-oriented, with standout hits like “Comme un million de gens”.

[1] In 1972, he was hired as a TV show host and established his own record label. After overcoming some personal challenges, including drug issues in 1981, he made a remarkable comeback in 1982 with the album Sortie Dubois, which brought him five Félix awards that same year. After recovering from a stroke, he released Duos Dubois in 2007, which earned him a place in the Canadian Songwriters Hall of Fame in 2008. His passion for performance remained strong as he delighted audiences at various festivals until 2013.

[2] Dubois’ songs dive into deep emotions, often focusing on themes like longing, identity, and the tension between material success and genuine fulfillment. Take “Le Blues du Businessman,” which comes from the musical Starmania for example. It paints a vivid picture of a wealthy businessman who seems to have it all—money, power, and success—but still feels an important sense of emptiness. The lyrics contrast his luxurious lifestyle (“Je voyage toujours en première,” “J’ai du succès dans mes affaires”) with his inner emptiness (“J’suis pas heureux mais j’en ai l’air, “J’ai perdu le sens de l’humour”). Despite his multiple achievements, he regrets not pursuing an artistic path where he could express himself freely and find true meaning in life. The repetition of “J’aurais voulu être un artiste” reinforces his yearning for creativity, self-expression, and an identity beyond his career. This song captures a recurring theme in Dubois’ work—an emotional exploration that challenges societal norms, revealing the gap between outward success and inner satisfaction. With its melancholic tone and striking lyrics, it offers a timeless commentary on the sacrifices often made in the pursuit of wealth and achievement.

[3] This theme of longing and inner conflict is not only present in “Le Blues du Businessman” but also appears in “Chasse-Galerie”, though in a different form. While the former explores personal dissatisfaction in the face of success, the latter tells a supernatural tale of desire and temptation. “Chasse-Galerie” is an engaging song inspired by a popular Québécois legend about a group of lumberjacks who make a deal with the devil to fly home in a magical canoe on New Year’s Eve. The song dives into themes of temptation and the ongoing struggle between good and evil. The lyrics create a vivid picture of the men’s isolation in the forest, where the devil takes advantage of their longing for home by offering them this enchanted escape. But it’s a risky pact—if anyone breaks the rules, they all face dire consequences. The tension rises as they successfully reach their village, but one man’s mistake seals their fate. Just when hope seems lost, a young member of the group manages to break the spell with a heartfelt prayer. Claude Dubois’ rendition of this tale brings a haunting quality that really emphasizes the perils of temptation. This song beautifully weaves together folklore and poetic storytelling, making it a unforgettable piece.

 

References

[2] Kerley, Melissa S. “Starmania and ‘Le Blues Du Businessman.’” Learn French in DC and Online, 7 May 2010, frenchindc.com/blog/starmania-and-le-blues-du-businessman/. Accessed 16 Mar. 2025.

[1] Rioux, Christian, et al. “Claude Dubois.” Thecanadianencyclopedia.ca, 3 Mar. 2013, www.thecanadianencyclopedia.ca/en/article/claude-dubois-emc. Accessed 14 Mar. 2025.

[4] Wikipedia Contributors. “Claude Dubois.” Wikipedia, Wikimedia Foundation, 24 Sept. 2024, en.wikipedia.org/wiki/Claude_Dubois. Accessed 16 Mar. 2025.

[3] Wikipedia Contributors. “Chasse-Galerie.” Wikipedia, 26 Jan. 2021, en.wikipedia.org/wiki/Chasse-galerie. Accessed 16 Mar. 2025.

Related Contents

Anon. “Claude Dubois.” Canadian Songwriters Hall of Fame, 28 Aug. 2018, www.cshf.ca/songwriter/claude-dubois/. Accessed 14 Mar. 2025.

Sautter-Léger, Serena. “Melodies of a Lifetime with Claude Dubois – the Tribune.” The Tribune, 9 Apr. 2024, www.thetribune.ca/a-e/ae-music/melodies-of-a-lifetime-with-claude-dubois-09042024/. Accessed 16 Mar. 2025.

Suggested Sources

[3a lyrics] Anon. “Claude Dubois – Chasse Galerie.” Genius, 2021, genius.com/Claude-dubois-chasse-galerie-lyrics. Accessed 16 Mar. 2025.

[3c English] Anon. “Claude Dubois – La Chasse-Galerie (English Translation).” Lyricstranslate.com, 2024, lyricstranslate.com/en/claude-dubois-la-chasse-galerie-english. Accessed 16 Mar. 2025.

[2b video] FYO PIX. “Claude DuBois: Le Blues Du Businessman (Extrait de L’opéra-Rock STARMANIA (Live à Paris) 1999.” YouTube, 20 Oct. 2012, www.youtube.com/watch?v=wq81bvTcDmA. Accessed 16 Mar. 2025.

[3b video] Papalouza. “Claude Dubois: Chasse-Galerie.” YouTube, 21 Nov. 2011, www.youtube.com/watch?v=xI58RasCJTw. Accessed 16 Mar. 2025.

[2a lyrics] Sing With Them. “Claude Dubois | Le Blues Du Businessman.” YouTube, 27 Apr. 2023, www.youtube.com/watch?v=4M6llRvR3bs. Accessed 16 Mar. 2025.

03/19/25

Claude Léveillée (1932 – 2011)

Claude Léveillée was a Canadian actor, pianist, and singer & songwriter who composed over 400 songs, instrumental scores, and musicals. He was born in Montréal, Canada. His mother was a pianist and his father was a tenor. Born into a musical family, he learned to play the piano at five without ever taking any lessons. He also played the accordion and harmonica. He began performing in the streets while taking economics and political science courses at the University of Montreal. 

 

He made his stage debut in 1955. He appeared on stage at the Université de Montréal in the magazine Bleu et Or, to perform a number by Gilbert Bécaud and Liberace. He was noticed by Noël Gauvin, director of the TV show Music-hall. Gauvin later approached Léveillée to compose the song Montréal for the singer Andrée D’Amour. In 1956, he founded Les Bozos, a group of singers composed of Clémence Desrochers, Hervé Brousseau, Jacques Blanchet, Jean-Pierre Ferland and Raymond Lévesque. Among the first songs he composed were “Frédéric”, “L’Hiver”, “Les Vieux Pianos” and “Rendez-vous.” In 1964, he was the first Québec-born solo artist to perform at Place des Arts. This is one of Canada’s largest music complexes. It is a major North American integrated centre for both visual and performing arts. He brought his music around the globe,  in Canada, France, The USSR, Japan, Belgium, Switzerland, and central Asian countries. 

 

Apart from songs, he wrote music for theatres and films. He composed music for TV series such as Of Mice and Men, L’Échéance du vendredi, Le Pélican and Millionnaire à froid. He also wrote music for the film Les Beaux dimanches, and wrote musical comedies. He composed vocal concertos and music for the ballet Fleur de lit. Les Ballets-Jazz du Québec danced it during the Montréal Olympics. 

 

In the late 1970s,  he took a break from performing and switched focus to composing and acting. In the 1990s and early 2000s, he released several new albums and performed again. He was partially paralyzed in 2004, and his final album, Coeur sans pays, was recorded just days before his stroke and was released in 2008. He passed away in 2011 at the Laurentians. 

 

Léveillée’s work has a strong influence. They were recognized with numerous awards, including Officer of the Order of Canada and induction into the Canadian Songwriters Hall of Fame (2006). As a result of his work, other artists can follow in his footsteps and achieve greater success. 

 

Source 

Denise Ménard, Betty Nygaard King, Suzanne Thomas, Benoît L’Herbier. “Claude Léveillée.” The Canadian Encyclopedia. Historica Canada. Article published June 8, 2011; Last Edited March 4, 2015.

https://www.thecanadianencyclopedia.ca/fr/article/claude-leveillee 

 

Julie Dufresne, Laurent Duval, Susan Spier, Richard Haskell. “Music at Place des Arts.” The Canadian Encyclopedia. Historica Canada. Article published April 14, 2011; Last Edited April 27, 2023.

https://www.thecanadianencyclopedia.ca/en/article/place-des-arts-emc

03/14/25

Ojibwe

The Ojibwe are indigenous peoples that are part of the larger group, Anishinaabeg [1]. The Anishinaabeg refers to indigenous peoples that are linked together culturally and linguistically, whom of which reside both in Canada and the United States [2]. The Ojibwe are also part of the Algonquin peoples, who’s ancestry can be found in Eastern Canada; primarily Ottawa and Quebec.  

The Algonquin were allies with early French settlers against the Haudenosaunee, a separate indigenous nation, and maintained alliances with the French settlers during the fur trade for military equipment, fur trading, and later, general supplies [3]. Ojibwe peoples migrated from Northeast Canada and spanned Southwest ward through to Manitoba. In the United States, Ojibwe peoples reside in the Northeast parts of Michigan, through to the Northern section of North Dakota [4]. 

This wide dispersal was due to the growing fur trading enterprise. Some Ojibwe peoples involved with the fur trade also participated in the Feast of the dead, an event held by the Huron [5], an allied Iroquoian-speaking indigenous nation [6]. The Feast of the dead refers to the event in which the movement of the bodies of departed souls (who did not die violent deaths) are relocated to a common ossuary, which was lined with beaver robes. The event helped facilitate fur and goods distribution between groups. 

Suggested Sources:

  1. Bishop, C. A. (2008, August 13). Ojibwe | the Canadian encyclopedia. The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/ojibwa 
  2. Hele, K. S. (2020, July 16). Anishinaabe. The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/anishinaabe 
  3. Black, M. J. (2007, September 30). Algonquin. The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/algonquin 
  4. Peacock, T. D., & Wisuri, M. (2002). A Chapter Road Map. In Ojibwe Waasa Inaabidaa (pp. 18–26). essay, Afton Historical Society Press., from https://books.google.ca/books?id=tIljlOKroM0C&lpg=PA10&ots=e0lyqX0pGd&dq=ojibwe&lr&pg=PA22#v=onepage&q=ojibwe&f=false. 
  5. Marsh, J. H. (2006, February 7). Feast of the dead. The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/feast-of-the-dead 
  6. Heidenreich, C. E. H. (2011, January 4). Wendat (Huron). The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/huron 

Related Contents:

 

03/13/25

Marcel Bénéteau

Marcel Bénéteau fait revivre la musique traditionnelleMarcel Bénéteau is a retired associate professor in the Department of Folklore and Ethnology of French North America at the University of Sudbury, a bilingual post-secondary institution in the North of Ontario. He was born outside Windsor, Ontario, in the small community of River Canard (French: Rivière-aux-Canards). This area is home to one of North America’s oldest continuously inhabited French communities. In the 18th century, French-speaking settlers from France and Québec came to this area to build a strategic fur-trading post, Fort Detroit (see Les voyageurs). Later, in the 19th century, more Québecois joined the town, and, in the present day, the two Francophone communities remain somewhat culturally distinct. Bénéteau’s mother’s side of the family is descended from the so-called Fort Detroit French.

Bénéteau’s primary research focus is on the history and culture of French settlers in the Detroit region. His career began as a musician when he was approached by a Radio-Canada producer, Paulette Richer, who encouraged him to sing folk songs in French. At that time, the French folk song repertoire mainly comprised songs from Québec. Inspired by efforts in the Maritimes to revive Acadian folk songs, Bénéteau made it his mission to rediscover the folklore of the Detroit region, completing a Master’s in Folklore Studies at Laval University.

He has collected over 2,000 folk songs from the Detroit region, a mission which he considers a race against time as the people who know these songs tend to be older. He has recorded numerous albums of these songs (see example below). He has often claimed that folk songs enable us to discover a way of speaking and telling stories in a French that has been linguistically preserved.

Suggested listening:
“La vie des matelots.” YouTube. Accessed February 28th, 2025. https://www.youtube.com/watch?v=3eaeLiUClVk.

Suggested Sources:
“Marcel Bénéteau: Notice Biographique.” Presses de l’Université de Laval. Accessed February 28th, 2025. https://www.pulaval.com/autrices-et-auteurs/marcel-beneteau#:~:text=Marcel%20B%C3%A9n%C3%A9teau%20est%20professeur%20agr%C3%A9g%C3%A9,de%20la%20r%C3%A9gion%20du%20D%C3%A9troit.
“50 ans de CBEF: les souvenirs de Marcel Bénéteau, l’animateur.” Radio-Canada Ohdio. Accessed February 28th, 2025. https://ici.radio-canada.ca/ohdio/premiere/emissions/matins-sans-frontieres/segments/entrevue/172488/marcel-beneteau-ancien-animateur-agro-mag-cbef-insecurite-linguistique.
Longobardi, Constance. “Marcel Bénéteau fait revivre la musique traditionnelle.” l-express.ca. Accessed February 28th, 2025. https://l-express.ca/marcel-beneteau-fait-revivre-la-musique-traditionnelle/.
“Folk Music.” Voyageur Heritage: Community Journal & Resource Guide. Accessed February 28th, 2025. https://voyageurheritage.wordpress.com/music/.

Related links:
Detroit
Les voyageurs

01/16/25

Suzie LeBlanc (1961–)

Introduction

Suzie LeBlanc is a soprano, a teacher, an actress, and a harpsichordist. She was born in Edmunston in 1961. She has an Acadian heritage (an ethnic group descended from the French who settled in North America) but grew up listening to and practicing classical music.

Early life and education

LeBlanc studied harpsichord, with singing as a second subject at CEGEP St-Laurent, Montreal. Later, she joined the women’s trio Musica Secreta on their tour of Western Canada. She moved to Europe to study voice a few years later and was eventually offered a singing part with The Consort Musicke. 

Career

LeBlanc specialized in baroque and classical repertoire. However, her career is also inextricably linked to her Acadian heritage. As a recording artist, she has contributed to numerous Acadian recordings. She has recorded many unpublished works, including Chants d’Acadie: Tout Passé, a collection of mainly Acadian songs. Her album La Mer Jolie, Chants d’Acadie celebrates the 400th anniversary of the arrival of the French settlers. 

As a performer, she has appeared in recitals with many leading early music ensembles and performers, performing pieces like L’Incoronazione di Poppea in L’Opera de Montreal and Grand Messe by Gilles Vigneault (a Quebec singer-songwriter) during Quebec City’s 400th anniversary year.

As a teacher, she has taught at the University of Montréal (2000-9), McGill University (2008-9), and the Conservatoire de musique de Montréal (2009). In 2005 she became the artistic director of Le Nouvel Opéra.

LeBlanc has been a great musician, she inherited her heritage and dedicated herself to Acadian music. 

 

Suggested Sources:

  • Ellis, Andrea , and Jennifer Gillis. “Suzie LeBlanc.” The Canadian Encyclopedia. Historica Canada. Article published March 10, 2013; Last Edited December 14, 2013.
01/16/25

La Bottine Souriante (1976–)

La Bottine souriante are a Québécois folk revival band, formed in 1976 by Yves Lambert and others in his home city of Joliette.[1] Since their founding during a peak period of Québec nationalism, they have become one of the most important disseminators of Québécois folk music, both within the province and internationally; many important Québécois folk musicians have at some time played with the group.[2]

Since their first album, Y’a ben du changement (1978), their music has been received with success: they recorded 14 studio albums with Lambert from 1976 to 2003, winning two Juno awards and eight Prix Félix during this time. La Bottine souriante continues to tour extensively around Europe and Canada,[3] and is especially popular in the USA.[1] They have also been politically active, and campaigned for “Yes” in the 1980 Québec referendum.

The personnel in the band have changed extensively since their founding; the current lineup consists of Eric Beaudry, David Boulanger, Robert Ellis, Jean Fréchette, Jean-François Gagnon-Branchaud, Mathieu Gagné, Jocelyn Lapointe, Olivier Salazar, Sandy Silva, Timi Turmel, and André Verreault, with Lambert having left in 2003. Founding members included Mario Forest, Lambert, André Marchand, Gilles Cantin, and Pierre Laporte, and many other musicians have been involved with the group both as core members and as guest artists. The instrumentation consists of common French-Canadian folk instruments (accordion, guitar, fiddle, harmonica, mandolin, jaw harp) as well as elements of Celtic and Irish music, brass instruments, and more recently jazz-inspired piano and bass.[4] The group has a long history with 16 studio albums and numerous guest appearances over their almost 50-year history. Some suggested listening has been included below.

Since much of their music is intended for dance, foot-tapping is featured prominently (e.g. the opening track Cette bouteille-là from Appellation d’origine contrôlée). This particular album also features percussive dancing by Sandy Silva as part of the music.[5] In this album, the title relates to an agricultural label (AOC) which designates local products produced in a particular region, perhaps to evoke an organic, agrarian aesthetic (though the instrumentals in this album contain a curious fusion of big band and funk not heard in their earlier output). The galloping rhythms are a commonality across much of their musical output across time, and can be also heard as early as in Y’a ben du changement. Alternation between songs and instrumental dance pieces also persists across albums, and many techniques (e.g. call and response) remain the same.

Suggested Sources:

  1. “La Bottine souriante.” The Canadian Encyclopedia. Historica Canada. Article published February 07, 2006; Last Edited December 15, 2013.
  2. Thérien, Robert. “La Bottine souriante.” The Canadian Encyclopedia. Historica Canada. Article published August 21, 2006; Last Edited December 16, 2013.
  3. Noakes, Taylor. “Yves Lambert.” The Canadian Encyclopedia. Historica Canada. Article published September 7, 2022; last edited September 7, 2022.
  4. Wikipedia Editors. “La Bottine souriante.” Wikipedia. https://en.wikipedia.org/wiki/La_Bottine_Souriante
  5. Romero, Angel. “Foot Tapping Good.” Review of Appellation d’origine contrôlée by La Bottine souriante (Borealis, 2011). World Music Central. https://worldmusiccentral.org/2012/01/13/foot-tapping-good/

Suggested Listening:

Related Links:

01/16/25

Beothuk

The Beothuk (a word meaning “the people” or “true people” in the Beothuk language) were an Indigenous people who inhabited what is now called Newfoundland. They were coastal people who mainly lived off fish, seals, and other sea mammals and birds. They traditionally lived in settlements along the southern and northeastern coasts of Newfoundland. Their language is part of the Algonquian language family, and a dictionary of Beothuk vocabulary was created in the 1800s.

The Beothuk were likely the first Indigenous peoples to be in contact with Europeans, possibly as early as when the Norse settled in the area between 800 and 1000 CE. 500 years later, new European settlers arrived from England and France, and the Beothuk were immediately wary of them. As more Europeans flocked to the coasts of Newfoundland and encroached on traditional territory., the Beothuk moved inland. Interestingly, the Beothuk never participated in the trade of goods with Europeans but did repurpose metal objects left behind by settlers into tools for hunting.

As permanent settlements along the coast were established by the English and French, the Beothuk were blocked from fishing in their traditional waters and forced to live off of insufficient land and waterways for their needs. The deterioration of their living situation, combined with the introduction of European diseases, particularly tuberculosis, resulted in a rapid decrease in population. Many history books claim that the Beothuk were wiped out, with Shawnadithit, who died in 1829, being recorded as the last surviving Beothuk. However, the Mi’kmaq, who traded with the Beothuk, have always asserted that some Beothuk fled and intermarried with other Indigenous nations on the mainland.

Very little is known about the Beothuk’s musical traditions, but there are written accounts that reference traditional singing and dancing. One interesting musical artifact is a wax cylinder recording from 1910 of a Beothuk song sung by Santu Toney, a woman who self-identified as Beothuk despite speaking Mi’kmaq and living in Massachusetts. Toney claimed she learned the song from her father before fleeing Newfoundland. While we can never be sure whether the music was traditional or influenced by European traditions, the recording provides our only acoustic glimpse into the musical traditions of the Beothuk people.

Suggested Sources: