Subject: [Harp-L] diatonic vs chromatic ( what can be done?)

[EGS1217@xxxxxxx]

(Copies to:  Iceman, Barbecue Bob, JpPagan, Barbara Butler)
 
Larry (the Iceman) writes among other things (snipped):
 
"I believe that this is the philosophy of Preserving and Advancing and it  
breaks my heart to see or hear about the separation of the camps. It is true  
that 
the diatonics are much more tolerant and respectful towards the older  
Chromatic/Bass/Chord than vice versa, but one has to understand that the  
older 
generation needs respect in a different way before they may open up to  the 
new 
changes/music. They need a little more attention and effort should  be made 
to make them comfortable. After all, the diatonics have open arms and  youth on 
their side."
 
......I'm sorry Larry, but I can't quite buy this part of your  argument.  
While understanding that  a "little more attention" might  be paid to whom you 
deem the "older" crowd at Buckeye and SPAH, just how long a  period of time 
does one continue paying respect to people who do not give it  back (when many 
others of their age group do)  or just how much  time do you allow people to 
adapt to a so-called "new"  situation?  By your own account it began years 
before.  Surely  even the most recalcitrant individual had finally made up his or 
her mind  whether or not to accept "different" players/styles of music at the  
Conventions?
 
I'm flattered as I'm sure most Blues/diatonic players would also  be to have 
you describe them as having "youth" on their side....when the  reality is the 
majority of them are in their 40's, 50's and 60's.  Hey  - if that's "youth", 
great! The Stones are still Rockin' in their  60's.   I think of myself as a 
kid at heart anyway <G>.   Playing Blues or anything else on diatonic harmonica 
in reality  encompasses players from 7 year olds (the afore-mentioned Sonny 
Girl when she  began) to people in their 60's and 70's, as it does those who  
play "old-timey" music or classical.  Age is just a number and  shouldn't be 
used as a criteria for respect or anything else, IMHO. Respect is  earned.
 
 Let's be serious though, many of the so-called "older" players who  dig 
their heels in and refuse to accept any style of music other than their own  are 
younger than many of the Blues or Jazz  players they so abhor.  It  is simply 
an inherent and inborn prejudice and snobbery and catering to  such prejudice 
does no one any good. 
 
Frankly Barbecue Bob's take on it as a type of racism fits my own  thinking 
even more closely when he writes: 
 
"ENOIUGH WITH THE CRAP ALREADY!!!!!!!!!!!!!!!!" 
 
...in his kudos towards JpPagan's excellent post on the  diatonic/chromatic 
subject, 
a statement so pure in its simplicity, it's best left  untouched......<G>
 
... then he adds:
 
"The snobbery on both sides of the harmonica aisle, to put it harshly,  which 
IMNSHO, to me is the harmonica equivalent of racism, people putting  things 
down they don't understand and frankly haven't made the effort to do  so."
 
.....and he's put into words what I've long wanted to say but wasn't  quite 
sure how to. 
 
....There is an innate racism (and "class" distinction  in its milder form) 
being made between styles of harmonica (and the  musicians making music with it 
and the music being made with it) that has  no place in our world.  I heard 
it, felt it, saw it at Buckeye and  SPAH and have finely attuned antennae 
towards it. 
 
 I hate the idea of it being a "serious" topic here since I much  prefer the 
lighter-hearted fun bantering, but am of the belief that  ignoring 
discriminatory behavior or thinking doesn't serve to make it  go away as some hope, but 
merely allows people of a particular mindset to  feel encouraged.
 
There is hope for the future of the harmonica, as I had a lovely chat with  a 
KC Hilton employee on the way to the Airport after SPAH about this very  
subject and he works with disenfranchised Kansas City youth and is now intrigued  
by the idea of getting them interested in the harmonica after witnessing one 
of  the late-night Blues sessions, but I won't offend anyone's "sensibilities" 
by  discussing our very outspoken conversation further.  Anyone who would care 
 to talk to me about the rest of that story should feel free to contact me 
off  list, of course. 
 
  Separately, I've received several private emails from people  (diatonic 
players) who vowed never to return  to either Buckeye or SPAH due to their own 
uncomfortable  feelings of disenfranchisement from previous conventions and for 
some  unfathomable reason have chosen me as their conduit.  I'm in the  
process of trying to convince these harmonica players that they are most  welcome 
and indeed needed there. 
 
 Simply by attending and playing your own music (whatever that  is) you help 
break down the barriers --as well as the folks running the  shows continuing 
to get the best players to conduct the Seminars (we had some  great ones at the 
2005 SPAH).  Additionally of course I would  have enjoyed seeing other such 
widely varied artists such as Robert  Bonfiglio, Keith Dunn, etc. as well... 
perhaps at future Buckeye's/SPAH's,  since I wouldn't presume to know how the 
system works nor how difficult it is to  coordinate the Artists with the 
Conventions.  
 
I love Barbara Butler's take on it:  "Come on now, let's play nice  together!"
 
Elizabeth