bwa) folk traditions. Ethnomusicologist Jocelyn Guilbault, however, describes zouk as a synthesis of Caribbean popular styles, especially Dominica cadence-lypso, Haitian cadence, Guadeloupean biguine. Zouk arose in the late 1970s and early 1980s, using elements of previous styles of Antillean music, as well as imported genres. Zouk-love Zouk Love is the French Antilles cadence or compas, characterized by a slow, soft and sexual rhythm. The lyrics of the songs often speak of love and sentimental problems. The music kizomba from Angola and cabo-love from Cape Verde are also derivatives of this French Antillean compas style, which sounds basically the same, although there are notable differences once you become more familiar with these genres. A main exponent of this subgenre is Ophelia Marie of Dominica. Other Zouk Love artists come from the French West Indies, the Netherlands, and Africa. Grammacks, Exile One, Ophelia Marie, and many Dominican bands played cadence-lypso (Dominica Kadans) that later influenced zouk love in the French Antilles. Nowadays, zouk-love is called the French Antilles cadence or compas. Popular artists include French West Indian artists Edith Lefel and Nichols, or like Netherlands-based Suzanna Lubrano and Gil Semedo, the African artist Kaysha. Soca The calypsonian Lord Shorty of Trinidad was the first to define his music as "soca" during 1975 when his hit song “Endless Vibrations” was causing major musical waves on radio stations and at parties and clubs not just throughout his native T&T but also in far off metropolitan cities like New York, Toronto and London. Soca was originally spelled Sokah which stands for the “Soul of Calypso” with the “kah” part being taken from the first letter in the Sanskrit alphabet and representing the Power of movement as well as the East Indian rhythmic influence that helped to inspire the new soca beat. Shorty stated in a number of interviews that the idea for the new soca beat started with the rhythmic fusion of Calypso rhythms with East Indian rhythms that he used in his hit "Indrani" recorded in 1972. The soca beat was solidified as the popular new beat that most of the T&T Calypso musicians would start adopting by the time Shorty had recorded his big crossover hit “Endless Vibrations” in 1974. Shorty also recorded a mid-year album in 1975 called “Love In The Caribbean” that contains a number of crossover soca tracks before setting off on an album distribution and promotion tour. During his