Girl Bands are not a new phenomena. Long before Girls Aloud, The Spice Girls, or even The Supremes there were girl bands of quite a different sort. During World War II Girl Bands took over and became increasingly popular once the boys joined up. But it was a time when prejudice against women performing was still strong. Female singers such as Vera Lynn was quite acceptable, but many people thought it wasn’t quite proper for women to blow into a trumpet or make a sax sing.
Ivy Benson was a highly skilled clarinetist and saxophonist who formed her All Girls Band in 1939 playing throughout the war. It is said that she was inspired by listening to the recordings of Jimmy Dorsey and Benny Goodman. They became one of the top bands of the era, although not without some resentment from male band leaders, and the worry that some of her prized musicians would sometimes leave to marry.
There was a wonderful movie called The Last of the Blond Bombshells, featuring Judy Dench. It’s the story of a widow who was obliged to confine her sax playing to the attic while her husband was alive, but on his death decides to follow her passion and start her own band. I loved this film, and the idea inspired me to write my own story about a girl band, set in Manchester during the war.
Dancing on Deansgate is about Jess Delaney, a young girl who loves music and discovers she has a talent, thanks to a Salvation Army sergeant who teaches her to play the trumpet. Despite an abusive uncle and a feckless mother, and with her beloved father away fighting in the war, she decides to make something of her life. But Jess doesn’t find it easy to get the band underway. Band leaders and ballroom managers frequently accuse them of not being able to withstand the physical hardships of long hours of playing.
‘Women don’t have the stamina that men have,’ said one.
‘Limited scope,’ said another.
‘Women are long on looks but short on talent.’
‘We aren’t in the business of employing young ladies who think it might be fun to show off on stage, however charming and genteel they might be.’
This attitude incensed Jess and she would tell them in no uncertain terms that her girls could play In the Mood every bit as well as they could play Greensleeves.
One manager had the gall to say that women had no real sense of rhythm in a jam session, as they were hopeless at improvising.
Another, trying to be conciliatory, remarked, ‘I see why you ladies are offering to step in, with all the men having been conscripted for service and bands desperate for decent musicians. But we’re looking for professionals, not amateurs. We need the best.’
Outraged, Jess’s response was sharp. ‘We are the best, and how can we ever get to be professional if we’re never given the chance.’
A shake of the head. ‘Women aren’t made to sit on a stage and blow their brains out.’
‘We could blow the men right off it.’
As well as proving they were skilled musicians, they were also expected to look feminine, but finding the right clothes to wear wasn’t easy either, as fabric for dresses was in short supply. Faulty parachute silk was often used instead, and a glamorous look brought its own problems. Slinky gowns, together with sexy swing music, could bring about unwelcome invitations, as if fraternising with the men rather than a passion for music, was their main purpose in life.
They called it the Christmas Blitz, but there are no festivities for Jess, locked in the cellar by her feckless, tarty mother. And when Lizzie is imprisoned for shoplifting, Jess is sent to live with her uncle, a bullying black marketeer, who treats her like a slave. Jess’s natural musical talent offers an escape route - and the chance for love. But Uncle Bernie has never forgiven his niece for refusing to join his illegal schemes, and threatens to deprive Jess of her hard-won independence.