The genesis of Pretty Good for a Girl: Women in Bluegrass by Murphy Hicks Henry
(University of Illinois Press, 2013, 456 pages, $29.95) grew from a
comment intended as a compliment but experienced by women musicians
as the ultimate put-down. Henry decided to create a data base of
women in bluegrass as well as to begin distributing a newsletter on
the same topic which continued to be published until 2003. Her
master's thesis on Sally Ann Forrester, the first woman in bluegrass,
became the basis for the first chapter in this cyclopedic account of
the increased presence and influence of women in bluegrass from its
beginning in (and before) 1945 to the present. Pretty Goodfor a Girl, ten years in the
writing, provides the reader with a perspective putting the lie to
the marginalization of women in the assertion that bluegrass was, and
continues to be, largely a boys' club. Murphy Henry not only sets the
record straight, she does so in a witty, engaging manner (sometimes
with a slightly bighty edge) that entertains as it informs. For any
student of bluegrass history, tradition, and culture, this book is
must reading!
As Murphy Henry
became involved with bluegrass as a performer, the bands she
“worshipped” consisted entirely of men. She notes that she was
“culturally conditioned to dismiss women and their accomplishments
as unworthy.” before presenting a long list of bands she “worked
shows with.” Early definitions of bluegrass reinforced this
stereotype in both academic and popular publications. The stereotypes
were contradicted early in print by Alice Gerard, but still tend to
echo down the hallways of bluegrass music despite the prominence of
so many women in bluegrass today. It is now, thankfully, unremarkable
to see women in every position in a band, although bands consisting
of all women are still, sadly, referred to as “girl bands.”
(Within the past few weeks, I've heard a promoter say he sought to
book at least one band fronted by a women, while another promoter was
quoted to me as saying he already had his “woman band.”)
Sally Ann Forrester: the First Woman in Bluegrass
a Bluegrass Boy - 1944
Pretty Good for a Girl
sets out to render the accomplishments of women in bluegrass from the
very first, and succeeds on all fronts. Although this book
concentrates on women who have made recordings, it acknowledges the
contribution of those who never played professionally or played for
only a short time. Henry writes throughout the book about the
difficulties of being on the road while being both a wife and mother.
She also discusses the suspicion women on the road encountered when
they were neither married to a member of the band nor members of a
family band. These limitations on women as touring performers
increased the difficulty for them in achieving recognition.
Furthermore, the kind of musicianship demanded in bluegrass, fast and
hard driving, was seen as being “masculine” play which was
difficult or impossible for members of the “weaker” sex to
achieve. Many women were hired for their singing ability and
relegated to playing bass or rhythm guitar because the showier
fiddle, mandolin, and, especially, banjo were not where they were
seen to excel. Numerous women today put the lie to these stereotypes
as we see Laurie Lewis, Kimber Ludiker, Sierra Hull, Rhonda Vincent,
and especially four time banjo player of the year Kristen Scott
Benson as well a Gena Britt emerging as leaders on their instruments.
The
word “testosterone” is used much more often in this book than the
word “estrogen,”although the effects of the latter on women's
careers is evident throughout. The choices women must make
because they are charged with the responsibilities of child rearing
dominate the book and the careers of professional women.
Gloria Belle
Henry
defines bluegrass music as featuring Scruggs style banjo, which she
admits is quite limiting. The book is extremely banjo-centric, but as
strong women have emerged during the development of the
singer/songwriter era of bluegrass, she actually admits bands which
don't necessarily adhere strictly to her early definition.
Nevertheless, she goes out of her way to feature female banjo
players. The book is limited, too, by the emergence of bluegrass
music, defined by the addition of Flatt & Scruggs to Bill
Monroe's band in 1945, and the space available to her. Nevertheless,
she nods admiringly to the many women who performed and recorded in
the formative days of folk and country music, an age when genre
differentiation was less clear than it apparently is today. She
acknowledges this disparity and bluegrass's uneasy relationship to
both its ancestors and related descendants, as well as country music in many forms.
Hazel Dickens & Alice Gerrard
Structurally,
Pretty Good for a Girl
is divided into eras in bluegrass music. The 1940's begins with a
profile of Sally Ann Forrester, the first woman in bluegrass and
continues with Wilma Lee Cooper, Rose Maddox, and Ola Belle Campbell
Reid. The decade of the fifties emphasizes family bands, focusing on
the Lewis Family and the Stonemans. The sixties is particularly
strong in its consideration of Hazel (Dickens) and Alice (Gerard) as
well as Martha Adcock, who apparently contributed quite profusely.
Lynn Morris and Laurie Lewis's contributions to the seventies era are
interesting and important. In the 1980's, women began to emerge as
band leaders with Alison Brown and Alison Krauss highlighted. In
the nineties, and on into the twenty-first century the number of
women become, as the chapter title says, “Too Many To Count.”
Kristin Scott Benson and Rhonda Vincent are profiled in detail as well
as the Dixie Chicks, perhaps bluegrass derived, but much too
interesting to be left out of this account. Murphy Henry's decisions
about who to include in her book suggest that importance as a women
performer in bluegrass and country music is more important than
purity in adherence to her definition of bluegrass as Brown's and
Missy Raines' jazz influenced music attests. Too many women of
importance to bluegrass music are included to name them all here.
Scant attention is paid to the Daughters
of Bluegrass projects,
but decisions had to be made to complete this project.
PrettyGood for a Girl
is well-researched and meticulously annotated. Many of the women
featured in the book made themselves available for extensive
interviews. The files of Bluegrass
Unlimited Magazine, for
whom Henry writes a monthly column, were extensively quoted. The
change in the magazine's overall attitude towards women has changed
for the better with the times. Her sources are nearly as interesting
to read as the text, giving credit where credit is due and attesting
to the sisterhood of music. I might quibble with the use of liner
notes as a source, since in many cases they are, at least, puff
pieces for the featured artists, and thus questionable as a resource.
Web site references are increasingly seen in reliable research, and
they are referenced here. The index is extensive and inclusive, as is
the list of other sources. Not only is this an extremely useful book,
it is an essential source book for the further research that needs to
be done in the important issue of women in bluegrass.
It would be easy to nit-pick this magnificent compendium for being
too banjo-centric in its definition and exploration of bluegrass
music while at the same time edging towards being too broad in its
effort to include all women who would reasonably fit within its
covers. However, this bifurcation mirrors the problems confronting
bluegrass itself as it seeks to remain relevant in contemporary music
while remaining true to its founders and roots. One little remarked
phenomenon made clear in this work is the growing importance of
higher education in bluegrass, which has apparently caught on more
among women players than among men. This increased amount of
schooling has often led to more balance between music and business as
well as greater lyrical and musical sophistication. The influence of
folk music on the women included here cannot be overestimated.
Murphy Henry writes, when discussing the Dixie Chicks, “Bluegrass
Music has long had an uneasy relationship to its business side,
preferring to pretend that most musicians play for love, not money.”
Murphy Hicks Henry
Muphy
Hicks Henry is a professional banjo player, teacher,
and writer living in Virginia. She founded the Women in Bluegrass
newsletter and has written regularly for Bluegrass Unlimited
and Banjo Newsletter. She is also the co-creator of The Murphy
Method, a series of instructional videos on playing the banjo and
other bluegrass instruments.
Pretty Good for a Girl
by Murphy Hicks Henry (University of Illinois Press, 2013, 456 pages,
$29.95) is an important, consistently interesting, and useful book
detailing the influence and presence of women in bluegrass throughout
its history. It is written with grace, style, and wit, remaining
consistently interesting. It was provided to me by the publisher for
review by Net Galley.
Hey, Ted, thanks for the great review. You obviously read every word in the book. You are right about it being banjo-centric. Guess I just knew those folks better! All the best Murphy Henry
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