#MeToo

I can only imagine what it’s like for female pipers and drummers to persevere in what is still a male-dominated – and often dominating – avocation. It’s a topic that has interested me for many years, going back to the 1990s when I worked to pull together a piece on females in piping.

It wasn’t easy then to get women to speak to the issue, and it’s still a difficult subject to discuss openly, many seemingly afraid of rocking a boat or jeopardizing their band’s or their own chances with judges and “authorities” – which are heavily weighted to males.

For sure, much has changed since the 1970s when women were still prohibited from competing at the major solo competitions until Patricia Innes (Henderson), Rhona MacDonald (Lightfoot), and Anne Stewart (Spalding) broke the gender barrier in 1976. Top-grade Scottish pipe bands disallowed female members until Ontario’s Gail Brown courageously stepped into the World Champion Shotts & Dykehead Caledonia in 1973.

It would take another 31 years before a woman would be awarded a Highland Society of London Gold Medal, when Faye Henderson broke the glass ceiling at Oban in 2010, not coincidentally following in the trail-blazing footsteps of her co-pioneering mother.

Back then, I wrote a blog post on the topic of pigeon-holing males and females, but the piping and drumming world remains a disproportionately male-dominated place, replete with its share of crass macho-shiteheads who continue to operate as if it’s an old-boys club. Only 20 years ago there were bands that not only wouldn’t allow women into their ranks, but would not even allow them to get on the bus. Maybe there still are.

The Royal Scottish Pipers Society only a few years ago voted to accept women as members, perhaps recognizing that they risked becoming a complete anachronism in addition to being hopelessly discriminatory. I don’t know how many women have been accepted as members, or have even been invited or applied. They might have jumped that shark decades ago.

If pipes|drums readership analytics are an indicator, about 25% of the world’s pipers and drummers are female, yet women are under-represented in associations’ executives, directors and judges, often woefully so. As far as I know, the RSPBA has one active female adjudicator. Of the Solo Piping Judges Association’s 52 judges listed on its website, a grand total of two are women.

The excuses are many. Well, there aren’t that many women who are qualified. Well, they just don’t seem to be interested. Well, they don’t have time, what with looking after their families. Well, they can’t physically blow a good instrument or carry a heavy drum. Well, their fingers are too short. Well, their wrists are too weak. Well, they’re moody. Well, they’re always complaining. Well . . .

The truth is, piping and drumming is still not the inclusive place that it must be. The challenges that women are faced with are systematic, insidious and, mostly, considered endemic. “Oh, well, that’s just the way it is,” I have been told by some great female pipers, resigned to having to put up with both blatant and tacit discrimination at practices and competitions. We males might not even recognize it, but it is there, often in subtly demeaning ways, and sometimes in quite awful insults – or worse – that probably force women to quit the scene altogether rather than put up with it.

And then we have the audacity to wonder why there aren’t more females who rise to the top.

The #MeToo social media campaign should be eye-opening to any sentient male. Personally, I have been astounded and saddened to see so many female piper or drummer friends of all ages come forward to divulge publicly that they have been the victim of emotional or physical abuse. I can safely assume that at least some or even many of those experiences have been around piping and drumming. Horrifying as it is, I know that there have been Harvey Weinsteins among us.

But, like thoughts and prayers, sadness and astonishment won’t solve anything on their own. We need to take action.

  1. All piping and drumming associations and pipe bands need to adopt a zero-tolerance policy against any member discriminating against any minority – female; non-white; LGBTQ.
  2. Members of associations must sign an agreement to uphold its zero-tolerance policy in order to become members and maintain membership.
  3. Associations must actively strive to reach and maintain gender parity between its leaders and judges and its membership.
  4. Associations must adopt a safe and private process to allow its members to report acts of harassment, bullying or discrimination.
  5. Members and leaders who have been found to breach the policy should be suspended or, if warranted, banned for life.

Some organizations might already have similar policies and rules but, given that it’s hard to agree on obviosities like teachers not judging pupils or family not judging family, I suspect not.

Piping and drumming comes from all-male military roots, but chalking up discriminatory behavior to “just the way it is” is no longer acceptable. It never should have been acceptable in the first place.

We’re a slow-moving and change-averse lot, but implementing these policies, and altering our habitual way of thinking, can no longer wait.

 

Sales pitch

Reeds do it. Metres do it. Even educated beaters do it. Let’s do it. Let’s fall apart.

With apologies to Cole Porter, the “it” in question is obsolescence, the failure of a product requiring customers to need the next version.

For most industries, planned obsolescence is necessary to sustain business. A product can become obsolete through continual improvement, as in your iPhone. After a time, technology overtakes technology, rendering an older product useless. Changing fashion is about style, but it’s also about creating new desirable products through perceived obsolescence, otherwise, loin-clothes would still be in vogue.

Musical instruments by and large are an exception. A quality musical instrument can last a lifetime, or even several lifetimes, provided that the instrument can cope with the evolution of pitch and, in the case of pianos, incredible tension that can eventually break down a pressure bar, rendering the instrument untenably untunable.

In terms of tension, a pipe band snare drum with upwards of a thousand pounds of pressure puts a piano’s maximum 200 pounds to shame. There is an incredible amount of torque required to bring a pipe band snare to pitch, and an ever-more-demanding drum pitch to complement an ever-sharper chanter sound is a great business recipe.

I have often wondered whether ever-rising pitch across almost all genres of music isn’t about planned obsolescence. From what I have read, the pitch of symphony orchestras has steadily increased, just like pipe bands. No one knows exactly why, but a possible theory is that it puts more pressure, figuratively and literally, on instruments, necessitating replacement parts or outright replacement.

I defer to experts on the mechanicals and engineering of a snare drum, but I believe that shells can buckle, hardware can bend, snare mechanisms fail, eventually rendering the instrument unstable. Pipe chanters generally have a much longer shelf-life, but they too are subject to the pressures of pitch, reed-seats knackered, holes gouged beyond repair, and so forth. At $850-$1,400 each, the pipe band snare drum and its various heads and snares that need regular replacing are the biggest annual collective equipment expense for a band.

I’m sure that a percussion instrument maker could create a snare drum that lasts as long as a Land Rover, but, trouble is, it would probably weigh too much to carry or be too expensive to purchase in the short-term, even though it might pay off in the long-term. Percussion instrument makers tempt bands further by bringing out the latest and greatest drums that promise to be more responsive and resilient, with glorious new sparkly shiny finishes to bling your back end. Just like your iPhone, what started five years ago as a state-of-the-art miracle device becomes a despicable piece of dated garbage.

In 2009, Terry Cleland created snare drums with carbon fibre shells that were lightweight and hardly or never deteriorated under pressure. They came in at a relatively expensive price, and haven’t caught on. He gave a complete set to the Grade 1 Ballycoan band, only to see the band buckle and break up before it ever took the drums into a contest.

Drum makers are smart to give away their instruments to the top bands, just like Taylor Made and Titleist get the best golfers to use their newest gear. The lead-drummers of the lower-grade bands beg and plead for their band to buy them the gear that is sure to up their game when, in fact, it probably won’t make too much difference to reconcile an outlay of $15,000, including matching tenors, bass and heads.

It’s a terrific business model – one that I won’t fault. If it weren’t for pipe chanters and their eventual obsolescence, I wonder how many bagpipe makers would stay afloat. Pipe band snare drum makers consistently strive to create more tension to satisfy tonal taste, and the pitch going higher and higher virtually guarantees sales. Woe betide drum and bagpipe makers if the prize-winning Grade 1 sound suddenly dropped 15 cycles. We’d all be pulling out our old 10-lug Super Royal Scots and Robertson chanters.

Pushing up the pitch is business-smart, lucrative obsolescence.

 

Browbeating retreat

Why are you out to get us? You seem to have it in for me. Why are you so unfair? You’re biased!

Watching the new US President going at the American intelligence agencies, the media and pretty much anyone or anything that he doesn’t agree with reminded me of how a few rare pipers, drummers and bands, almost always in the upper grades, can sometimes treat judges.

At least one of the President’s objectives in accusing people and things of being “unfair” or “biased” is clear: he wants them to doubt themselves and, he hopes, overcompensate the next time by giving him a more favourable decision or story.

Accusing journalists of under-reporting terrorism is designed to stoke fear by having media go out, research what they’ve reported, and publish a long list of terrorism coverage, thus achieving the objective of highlighting a long list of big and small terrorist acts, scaring the bejeezuz out of people. Mission accomplished.

As a piping and pipe band judge I have been accused a few times over the last 15-odd years of judging by paranoid bands (and the rare soloist) of being somehow biased against them. I can remember a few frustrated competitors – almost always competing in the top grades – casually or even confrontationally accusing me of not treating his/her band fairly. “Why are you out to get us?” “Why are you so unfair?” “You’re biased!” “Why don’t you like us?” “What do we have to do to get a prize off of you?”

After the initial, WTF moment passes, I ask them to provide examples. Generally, they won’t or can’t. When they do point to a performance in which they think they were hard done, I ask them to refer to the scoresheet as an account of my decisions. It might also be a simple response: “Next time, play better than the others.” When I ask if they listened to the whole contest, invariably the answer is no.

To be sure, there are a few genuinely corrupt judges in the piping and drumming world, but, as I’ve said many times, I don’t care who wins or gets a prize as long as it’s fair and deserved. I’ve never asked to judge anything and never will.

But a few veteran pipers and drummers will take this passive-aggressive or confrontational strategy with an objective to have you doubt yourself or want to make amends, so that next time you might bum them up a bit to get them off your back and prove that you’re not against them. It’s a psychological game. Some perhaps sociopathic competitors have even made a career out of it. Why? It tends to get results with weak judges who, in actuality, doubt their ability to get the result right and account for it convincingly with credibility.

And then there are judges whose top priority is maintaining friendships through judging. Getting the result correct is secondary. They’ll throw an undeserving player or band a prize just to keep up appearances, keep friendships, get judging gigs. I guarantee that this happens. It drove me crazy as a competitor and it drives me crazy as a judge. The judge overcompensates and next time out put that whinging competitor up a few places so that they remain friends while at the same time shutting their yap for a season.

The browbeating competitor tries to suss out the less-confident or more pliable judges, and will be relentless in their accusatory lobbying. Why? Because it apparently works in our little world where some judges are less afraid of losing respect than “friends.”

Obviously there is little comparison between the level of bullying and intimidation that goes on in federal politics and our little piping and drumming world. The point is that, sadly, browbeating can get results. It’s up to the objective and confident judges among us to respond to these sorts of tactics with confidence and integrity, continuing to do the right thing going forward.