By Gregory Hansen
This biography of 97-year-old Richard Seaman, who grew up in Kissimmee Park, Florida, is determined by oral historical past and folklore study to outline where of musicianship and storytelling within the state's historical past from one artist's point of view. Gregory Hansen provides Seaman's overview of Florida's altering cultural panorama via his tall stories, own event narratives, legends, mess around song repertory, and outlines of day-by-day life.
Seaman's adolescence stories of fiddling performances and rural dances clarify the position such gatherings performed in construction and retaining social order in the neighborhood. As an grownup, Seaman moved to Jacksonville, Florida, the place he labored as a machinist and played along with his relatives band. The evolution of his musical repertory from the early Nineteen Twenties throughout the Fifties offers a source for reconstructing social lifestyles within the rural south and for figuring out how alterations in musical variety mirror the state's more and more city social constitution. Hansen contains a set of Seaman's mess around tunes, transcribed for the good thing about performer and researcher alike. The thirty tall stories integrated within the quantity represent a consultant pattern of Florida’s oral culture within the early years of the twentieth century.
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Extra resources for A Florida Fiddler: The Life and Times of Richard Seaman
For permission to reuse this work, contact the University of Alabama Press. 39 That’s one I’ll never forget. The late Ervin Rouse. ” Chubby points his bow in the direction of the St. Johns River, and Richard comments that he knew Mr. Rouse. ” and turns to the audience. Well, he and I got to be pretty close friends, and one night he had been out. After we had got off, why we run up on each other and went to the old Union Station. At Park and Main, I believe it. It’s a new building now. But at that time, it was Union Station.
The better you could play, the better they’d like you. She thought it was sinful, but that’s the only one that I know of. I’ve heard of different ones claiming that they would hide the ¤ddle if the preacher came around and stuff like that. Some of them thought that ¤ddle music was harmful. But all I knew of was that one old lady that didn’t want her husband to bring the ¤ddle in the house. 14 It is curious that the ¤ddle was regarded as “the Devil’s box” in countless communities throughout the Americas and across Europe.
His broad smile acknowledges the crowd’s laughter, and he uses the three stories about learning to play the instrument to conclude, “I guess it just has to be part of your bloodstream or bone marrow to love and play the ¤ddle. ” Picking up on George’s recognition that there is deeper signi¤cance to the stories, Chubby contributes to the discussion: You know, George, I was just thinking now. And this is all kidding aside. The love for music, I think, begins at a very small age. And if you love it, you just hang in there.