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Summary: History of Boston through the eyes of those who performed
Review: From the1940s to the mid-1960s, several evenings a week, thousands of Irish and Irish Americans flocked to Boston's dance halls on Dudley Square to enjoy an unparalleled social scene of music, dance, and shopping. Musician and music book editor Susan Gedutis is also a performer of traditional Irish music in the New England area, and she's the logical author to add rich detail and social history to See You At The Hall, a probe of the history of Boston through the eyes of those who performed there. Narratives weave with social history to make for a compelling study in See You At The Hall.
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Summary: Settle In, and I'll Tell You a Story
Review: Would you like a cup of tea? How about a slice of soda bread? This book is as warm, lively, and fun as an Irish family gathering. Though the author is a music scholar, this book is refreshingly free of the weighty tone of most academic works--the writing is smooth, informed, and accessible, the tone affectionate. Ms. Gedutis has interviewed many performers and fans about this era, and their recollections are amusing, poignant, and nothing if not sincere. Not only do they recall strong images of a lost city, but they place the music in historical context: as the author points out, when the Irish first came to America, music halls--like social clubs, pubs, and church groups--were just one of the "meeting places" where new immigrants could relax among their own as they tackled the routine problems of life. The Irish well know the power of story and song-- in relating our history, in affirming our personal and collective identity, and in establishing a foundation of shared experience and hope in building a community. Ms. Gedutis refuses to paint the tale with a broad brush, however. She addresses the social and cultural forces that less informed authors might miss. One example is the tension between some Irish and Irish-American musicians. The former apparently felt that the latter, not born of the Sod, weren't "real" Irish musicians. This view was heartily countered by Irish Americans, who pointed out that many of the "real" musicians couldn't read music. On the argument went, while people danced in the background. In recalling this era, this book can't help but make one wonder if, in a world where Play Station and cable tv isolate us from one another, perhaps more of us (of all ethnic backgrounds), need to "go to the hall," to reconnect with our neighbors and friends for a dance, a drink, and a bit of chat. (Of course, the photo of Cardinal Cushing doing the Highland Fling is itself worth the price of the book.)
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