n 1942, Viola was known as the “Female Gene Krupa” for the way she would hurl her drumstick onto her drum, then jump up in the air and catch it as it bounced. She was also billed as America’s “fastest girl drummer” and the “famous girl drummer”. But being a musician in an all girl band in those days was considered only a “temporary” job – female musicians were “swing shift Maisies”, like Rosie the Riveter – substitutes for the real thing – men. While the men were at war, they filled in. The all girl bands were considered patriotic, temporary musical groups meant to entertain the soldiers. Said Viola, ''The men felt like: Girl musicians, what are they doing on the road? It's a male job.''

Viola says that female drummers today have it much easier. Though she just about had the field to herself for a while, she, along with innumerable female musicians of the WWII era helped to forge a remarkable legacy. "Before World War II there was great prejudice," Viola said. "The war overcame it to an extent. They could finally see what girl musicians could do. When World War II broke out, female musicians started to be taken more seriously. They were finally given a chance."

Given a chance in part because just weeks after the bombing of Pearl Harbor, Viola published an article in Down Beat Magazine, called ''Give Girl Musicians a Break!'' She wrote, “In these times of national emergency, many of the star instrumentalists of the big name bands are being drafted. Instead of replacing them with what may be mediocre talent, why not let some of the great girl musicians of the country take their place?''  She challenged perceptions about the true ability of women musicians. This caused quite a ruckus and gave women everywhere the courage to not only be seen but to be heard!

n 1942, Viola was known as the “Female Gene Krupa” for the way she would hurl her drumstick onto her drum, then jump up in the air and catch it as it bounced. She was also billed as America’s “fastest girl drummer” and the “famous girl drummer”. But being a musician in an all girl band in those days was considered only a “temporary” job – female musicians were “swing shift Maisies”, like Rosie the Riveter – substitutes for the real thing – men. While the men were at war, they filled in. The all girl bands were considered patriotic, temporary musical groups meant to entertain the soldiers. Said Viola, ''The men felt like: Girl musicians, what are they doing on the road? It's a male job.''

Viola says that female drummers today have it much easier. Though she just about had the field to herself for a while, she, along with innumerable female musicians of the WWII era helped to forge a remarkable legacy. "Before World War II there was great prejudice," Viola said. "The war overcame it to an extent. They could finally see what girl musicians could do. When World War II broke out, female musicians started to be taken more seriously. They were finally given a chance."

Given a chance in part because just weeks after the bombing of Pearl Harbor, Viola published an article in Down Beat Magazine, called ''Give Girl Musicians a Break!'' She wrote, “In these times of national emergency, many of the star instrumentalists of the big name bands are being drafted. Instead of replacing them with what may be mediocre talent, why not let some of the great girl musicians of the country take their place?''  She challenged perceptions about the true ability of women musicians. This caused quite a ruckus and gave women everywhere the courage to not only be seen but to be heard!

n 1942, Viola was known as the “Female Gene Krupa” for the way she would hurl her drumstick onto her drum, then jump up in the air and catch it as it bounced. She was also billed as America’s “fastest girl drummer” and the “famous girl drummer”. But being a musician in an all girl band in those days was considered only a “temporary” job – female musicians were “swing shift Maisies”, like Rosie the Riveter – substitutes for the real thing – men. While the men were at war, they filled in. The all girl bands were considered patriotic, temporary musical groups meant to entertain the soldiers. Said Viola, ''The men felt like: Girl musicians, what are they doing on the road? It's a male job.''

Viola says that female drummers today have it much easier. Though she just about had the field to herself for a while, she, along with innumerable female musicians of the WWII era helped to forge a remarkable legacy. "Before World War II there was great prejudice," Viola said. "The war overcame it to an extent. They could finally see what girl musicians could do. When World War II broke out, female musicians started to be taken more seriously. They were finally given a chance."

Given a chance in part because just weeks after the bombing of Pearl Harbor, Viola published an article in Down Beat Magazine, called ''Give Girl Musicians a Break!'' She wrote, “In these times of national emergency, many of the star instrumentalists of the big name bands are being drafted. Instead of replacing them with what may be mediocre talent, why not let some of the great girl musicians of the country take their place?''  She challenged perceptions about the true ability of women musicians. This caused quite a ruckus and gave women everywhere the courage to not only be seen but to be heard!

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