iWe were 16-17 years old when we started to set up a band. We knew the guys from  Syyskuun, who had a rehearsal room in an old detached house owned by Itikka in Seinäjoki. We got to train there. We also got to borrow their stuff, as we hadn't been able to get our own yet. Jaana chose the bass as her instrument because it had fewer strings than the guitar and it looked better. Marianne ended up behind the drums because her father Enoch had been a drummer. Jade began to sing; And the guitar made funny sounds when you put in a breaker(?). The songs were written by Marianne. The whole band was responsible for the arrangements. The people of Syyskuun were cheerful and warm towards us girls from Ilmajoki. We didn't even have to pay rent. The guys sometimes tried to collect some electricity bills, but we didn't have any money. One day or evening, a version of the American hip-hop band's name, The Fat Girl trio, was sprayed on the wall of the rehearsal. We didn't get angry. At some point, it became time to buy stuff. Marianne could choose either a driver's license or drums as a graduation gift. The choice was obvious. I think the parents also got away cheaper. The instruments were bought cheaply from friends or from an instrument shop in Seinäjoki.r ima

For the first Geisha gig, we trained hard. The gig was in the Finnish Rock Championship qualifiers in 1982. However, we did not make it to the next round. The final tournament in Seinäjoki was won by 22-Pistepirkot. We were in the stands, but we were already giving interviews to the press. We also felt like going to the gig again and we participated in the preliminary round of the Rock King competition organized by Suosikki. We won it and the red roses were handed over by the chairman of the jury, Jyrki Hämäläinen.ge

For some reason, the music activists of Seinäjoki, Suikki and Risto Vuorinen, wanted to use their time and energy in our band. Among other things, we got to make a demo tape in Suiki's studio. It was sent to Atte Blom from Johanna Publishing House and so we got a recording contract. The people of Syyskuun didn't like the fact that we got to record before them. The lock on the door of the rehearsal room had been changed.

Then we went to Helsinki to make an EP. The producers and recording engineers are Jimi Sumen and Kari Kalen. Both nice guys. The album cover photos were taken by Samurai-Timppa Pihtipudas in Bootleg Rock. From there we went to Kuopio for a gig to warm up for Sielun Velji. Jaana was traveling in her mother's car. She travelled to Kuopio with drummer Alf Forsman. Affe studied Jaana's mother's selection of car cassettes to pass the time. He threw out the window the ones he didn't like. Paula Koivuniemi's and Freeman's cassettes flew to the side of the road.re

Gigs also started to come. We played several times at Lepakko's legendary night party. Lords Of The New Church was also warming up at Lepakko. The gig was at Provinssirock, restaurant Kaisaniemi and the Old Student House. In the back room of the old building, photographic artist Riipinen was inspired to photograph our feet(?). Turun Kåren was the warm-up act for Kauko Röyhkä. There, Jade went to visit the public toilet downstairs before the gig. On her way out, she had to walk past the ticket office. There we noticed that the lady had no shoes on her feet and there was no ticket to show either. Jade tried to explain that she was here for a gig. "yes, yes, that's what they all say," was the reply. After arguing for a while, the parties reached an agreement and the gig could be played. There were some shared gigs with the Black Parade. We also got to play a gig at Tuomiorock in Jyväskylä. The performance time would probably have been in the morning, but we had planned with Siekkarit that they would come on stage during our last song and we were there for the first song. This way we got a nice decent performance time for our band. In Kaivari, they played at the Elmu folk festival and also toured Sweden. Susanne "Usi" Karlsson went there to drive and mix us. Before the departure of the ship, we went to Tavastia to get the PA wiring instructions drawn on paper from Gusu Alenius and so the job was under control. Of course, our operations were professional in other ways as well. Dave Lindholm once asked his guitarist colleague Jaana at a festival, "What kind of skebal do you skulaat?"(?) After thinking for a while, Jaana said: "Well, it has six strings." And there weren't even six, but five, because one had broken. At least in our songs, that string was not needed.

Newspaper interviews were also conducted. Miettinen's Kimmo went to do an in-depth interview about Geisha for Bambi magazine. We also received an invitation to the journalist's 25th anniversary party in Hämeenlinna. We went there and of course we bought a Geisha box of chocolates as a gift. When we got there, we didn't get enough deserved attention, so we ate half of the box of chocolates before handing it to the party item.

We went to make a music video for the song Aavelaiva. It was one of the first scripted and out-of-studio videos in Finland. It was performed in a music program hosted by Mikko Alatalo.

With the hoots of 1984, we set out to make a long-playing record. We had a grand piano miked in Finnvox's studio. One played keyboards, one tapped the rhythm to the cover, and one tapped the strings of the inside. Atte Blom sat with her plastic bag in the corner of the studio and giggled: ”This is international stuff!” Unfortunately, the album was never finished. Studying, starting a family, work and other basic life skills teared apart Geisha even before it reached its full bloom.