Gordon Henderson, Linford John, Janet Azouz, Sinky Rabess, Tony Valmond, Jeff Joseph, Mike Moreau and Anthony Gussie. Ophelia Marie is a popular singer of cadence-lypso in the 1980s. Cadence-lypso was influenced by nationalist movement that espoused Rastafari and Black Power. Many groups performed songs with intensely ideological positions, and much of the repertoire was in the vernacular Creole language. Gordon Henderson, Exile One's leader and founder, coined the name "Cadence-lypso" in his full band that used a full-horn section and was the first to use the synthesizers in kadans. Many mini-jazz from Haiti and the French Antilles followed this format. The band is considered by some to be one of the pioneers of soca. During the early 1970s, they initiated a fusion of cadence and calypso "Cadence-lypso" that would later become soca music. Exile One was the most promoted Creole band of the Caribbean. The first to sign a production contract with major label Barclay Records. The first to export kadans music to the four corners of the globe: Japan, the Indian Ocean, Africa, North America, Europe, The Cape Verde islands. Recent popular music During the 1980s, cadence-lypso’s popularity declined greatly. Some Dominican performers remained famous, such as Ophelia, a very renowned singer of the period. Popular music during this time was mostly zouk, a style pioneered by the French Antillean band Kassav, who used styles of folk music of Martinique and Guadeloupe. Soca, a kind of Trinidadian music, was also popular at the time, producing bands like Windward Caribbean Kulture. The '80s also saw a rise in popular for jazz and the formation of several jazz bands, while groups like Exile One began exploring tradition rhythms from jing ping and lapo kabwit. Zouk The inspiration for Zouk's style of rhythmic music comes from the Haitian compas, as well as music called cadence-lypso – Dominica cadence popularized by Grammacks and Exile One. Elements of gwo ka, tambour, ti bwa and biguine vidé are prominent in zouk. Though there are many diverse styles of zouk, some commonalities exist. The French Creole tongue of Martinique and Guadeloupe is an important element, and are a distinctive part of the music. Generally, zouk is based around star singers, with little attention given to instrumentalists, and is based almost entirely around studio recordings. Music authors Charles De Ledesma and Gene Scaramuzzo trace zouk's development to the Guadeloupean gwo ka and Martinican bèlè (tambour and ti