Polka brings the performance of European dance- energetic 2/4 time bass with oom-pah, accordion playing jumping music. It was born in Bohemia in the 1830s and was disseminated by the immigrants to Texas (conjunto) and Midwest (Slovenian twists of Frankie Yankovic). Bellows pump sing and sing of beer halls and weddings.

Zydeco: Louisiana Swamp Fire

Zydeco energizes Cajun roots in a Creole style- triplets of accordion wails over washboard scrubs (frottoir). It was crowned by Clifton Chenier as King of Zydeco with a mixture of R&B rubboard rhythms. Second lines beat New Orleans streets; funk is blended by such modern acts as Buckwheat Zydeco.

Polka’s Tex-Mex Cousin: Conjunto

Norteeno/conjunto 3-row chromatic accordion with bajo sexto guitar in border corridos. Flaco Jiménez internationalized it, dirty stories of love, immigration. Better than polka, hotter than country.

Beyond: Global Accordion Beats

Cajun two-steps bayou-ballads (Amédé Ardoin). Jigs/reels are raced on button boxes in Irish sessions. French musette valses Parisian nights: bandoneon cries Buenos Aires passion (Piazzolla). Colombian vallenato shakes in tropical; Finnish humppa shakes tango-polka hybrid.

Why Accordion Rules These

Portable power: music + harmony at the touch of a button. Bellows wording is an imitation of voice, merry gasps, sorrowful sighing. Folk roots require dance; immigrants brought culture hearts to the other side of the ocean.

Spinning polka, bounding zydeco, accordion gears community heart, eternally squeeze feet and souls.