appeared during this period, inspiring hysterical reactions among fans. Swing Swing was a pop-oriented form of jazz, the origins of which can be found as far back as 1923, when Fletcher Henderson began enlarging jazz bands. Whole new sections were added, and Henderson created music of greater range and texture. The same period saw Duke Ellington similarly expanding his relatively small jazz bands, and both groups had laid down recordings as early as 1931. Jead Goldkette and Ben Pollack were also early influential African American swing musicians, and were followed by yet more dance-oriented swing bands led by Jimmie Lunceford, Earl Hines, Don Redman, Count Basie, Glen Gray, Dorsey Brothers, Bob Crosby, Luis Russell, Andy Kirk, Glenn Miller, and Benny Carter. Cajun and Creole music Modern Cajun music began developing in the 1920s, drawing on traditional fiddlers and more modern accordionists. Joe and Cléoma Falcon made the first recording, "Allons à Lafayette", in 1928. The song was a regional hit that paved the way for Cleoma's brother, Amédée Breaux's "Jolie Blonde", now often considered the Cajun national anthem. Amédé Ardoin, a black man, soon became the most popular Cajun star, however. Louisiana's Creole population, made up of mixed African, French and Anglo heritage, had developed a form of dance music known as la la. Canray Fontenot was perhaps the most influential la la performer. In the 1930s, oil was discovered in Louisiana and Anglos came to the state en masse. Cajun culture was denigrated and restricted, and old-time music and western swing became major influences on Cajun music. Luderin Darbone's The Hackleberry Ramblers and Harry Choates were the vanguard of this new wave of Cajun music, which incorporated English lyrics and a smooth style. By the 1940s, though a revival of traditional Cajun music had begun, led by Iry LeJeune, whose 1948 "La valse du pont d'amour" is considered a watershed in the field. Country music Country music evolved along somewhat the same lines as folk, but achieved much more mainstream success. Jug bands and other influences (including Hawaiian steel guitar, folk and the country blues) coalesced in the 1930s development of honky tonk, a rough form of country music. At the beginning of the century, rural whites from Appalachia were known as hillbillies, and their music soon came to be called hillbilly music. Protestant churches like the Old Regular Baptists and Holiness Pentecostal used music in their services, and