Like most people stress can get the best of me. Project after project, priority after priority: it can eventually become too much. I started to look for ways to tend to my depleted emotional wellbeing and put an end to the monotonous cycle of stress I had become caught up in; but what should I choose? Yoga just confused me and meditating made me sleepy. I thought I was at a loss until I discovered a local women’s singing group.
While it may be a pastime usually relegated to the stage or the shower, depending on the singer, singing is proven to be incredibly beneficial to your mental and physical well being. The Sidney De Haan Research Centre for Arts and Health recommends singing as a way of promoting mental wellbeing and researchers at the University of Gothenburg in Sweden have discovered that choir members’ heartbeats synchronise when they sing together. This brings on a calming effect similar to yoga.
When it comes to documentaries on women in punk, the topic is usually given a brief five minute recap. A few token women are name-checked in between various dog-toothed male veterans discussing whether Lydon or Strummer influenced them the most. So when I see The Culture Show has a special half hour feature on women in punk I immediately sit down to see what it is all about.
In Girls Will be Girls, presenter Miranda Sawyer documents the history of women in punk during the early era of 1976/77 when it was limited to squats and small shows across London. Focusing on the stories of veterans Viv Albertine, guitarist in The Slits, and Chrissie Hynde, Sawyer inquisitively asks whether the female punk spirit still survives today. The answer is obviously yes, but let’s move on.
Here we go. The not all men brigade strikes again. Legend has it the army has soldier posted near every woman, primed and ready for the moment she questions any part of the patriarchal nature of our society.
In the firing line this time is noise pop group, Joanna Gruesome’s singer Alanna McArdle who in an interview with Drowned in Sound made a few observations on misogyny in music. The article was posted on Drowned in Sound’s facebook page and in response readers wrote varying degrees of offensive comments such as “There’s nothing like blaming your own lack of success on imaginary things”, “Get over yourself, love” or the ever faithful “Now get my tea on”. No matter what your saying about misogyny it always boils down to ‘that’ comment in the end. Like an ever faithful dog that always returns to shit on your carpet, some form of the “get my tea” line will be repeated till the end of time.
I’ve spent the last few days researching my black female guitar foremothers in an almighty playlist that I’ll share with you all soon. In the process I discovered Lady Bo, lead guitarist in Bo Diddley’s band from 1957-1961. Lady Bo, real name Peggy Jones, was the first female guitarist to be hired by a major act and was a huge influence on Diddley and his sound.
Jones’ life was changed after a chance encounter with Bo Diddley before a gig at the Apollo Theatre. She was carrying her guitar with her; Diddley who was so stunned to see a beautiful woman with a guitar invited her to the dressing room as Jones recounts in an interview with Lea Gilmore:
After a while he opened his guitar, asked me to grab mine and play something. When I opened my case he laughed louder than anyone I’d heard before. I wanted to know what’s funny? Hysterically he said what is that? He had never seen a Supro guitar. I said, “Now that’s a dumb question! First you probably never saw a girl carrying a guitar down the street before and want to know if I played it, did you think that was funny?” He said, “No!” I continued, “then you insult my ax and I listen to Wes Montgomery, Kenny Burrell and Charlie Parker and I think I’’ve heard of you! Do you think that’s funny?” He said, “No, but I like your attitude, let’s play something.” I said OK and the rest is history.
Although Jones had only been playing guitar for two years she had shown a talent for music from a young age. Growing up in the Sugar Hill district of Manhattan she enjoyed tap dancing at an early age and studied opera and learnt the ukulele at age 9. She graduated from New York’s High School for Performing Arts studying dance, drama and music theory.