In general, the love song of the black Creole is more distinctive than that of other Afro-Americans. A famous example is 'Layotte,' utilized by Louis Moreau Gottschalk (b. New Orleans, 1829, of French and English parentage), who achieved international fame both as pianist and composer. Gottschalk did much to make the charm of Creole melodies known to the world. The themes of his piano pieces perpetuate many of these melodies, among them _Avant, grenadier_, which forms the theme of one of his earliest compositions, _Bananier_. The popularity of Gottschalk and the general interest which his music aroused in Paris and elsewhere was one of the sensations of the musical world of that day. Another class of lyrics peculiar to the Creoles were the satirical songs which may be a survival of a primitive practice brought by their ancestors from America. At carnival times scores of these songs make their appearance--or reappearance,--new and topical words being applied to the old tunes, and public as well as personal grudges are taken out in this manner. Such songs are _Musieu Bainjo_, a mild bit of pleasantry leveled at a darkey who 'put on airs,' and _Michié Préval_, of which Mr. Cable says that for generations the man of municipal politics was fortunate who escaped entirely a lampooning set to its air. 'Its swinging and incisive rhythm made it the most effective vehicle for satire which the Creole folk-song has ever known.' (Krehbiel.) In Martinique these satirical songs, or _pillards_, are more malicious in intent and often cruel in the relentless public castigation they inflict upon the objects of their makers' hate. Other creole songs are of a historical nature, recording events or episodes of importance to the community. The invasion of Louisiana by the British in 1814, and the capture of New Orleans by the Union forces in 1862, for instance, were thus chronicled. * * * * *