ROCK N' ROLL
Discussion of the electric guitar is almost inseparable from analysis of rock music, as the ideals of the instrument have become virtually synonymous with the values of the music. Women’s relationship with rock n’ roll is difficult to fully capture because much of the research done on the genre concludes that rock is homogenous; performed primarily by young, white men for white, male audiences. This leads to the belief that women’s appreciation of rock music is largely a result of their "boyfriend's" influence or roles as groupies (Fast, 1999). If this were unequivocally true, one might expect that women would not participate as instrumentalists in rock bands. However, the presence of numerous female electric guitarists in rock music throughout history suggests that more inclusion and analysis is needed on the individual experience of the music and the meaning of the instrument. If women didn't have a connection to the music, why then might some have aspired to pursue a career as rock guitarists?
Perhaps it is simply a love of performance and the sonic identities of the technology that attracts some female players. Heart guitarist, Nancy Wilson, recalls her reasoning for playing as "it was always more about imitating guys, like Zeppelin and the Stones. Right away we [Ann Wilson] started doing air guitar shows in the living room, faking English accents, and studying all the fanzines" (Wilson, 2007). Not all women share the same experience, however, and some who are aware of the male dominance in the genre consciously counter these ideals by accessing the technology and creating what they consider "patriarchal" music. Electronic musician Peaches is one such example, as author Robin James notes, “when appropriately hacked, the master's tools in certain situations and under certain criteria might even be very effective tools for feminist, anti-racist works” (James, 78). The “master’s tools”, in this case, referring to the electric guitar. Each of these separate views on the technology further the idea that there is, in fact, no “one-size-fits-all” ideology. While there is no denial that sexism is a rampant part of rock music, evidenced by lyrical content (The Rolling Stone’s "Under My Thumb", for example) and audience and performer demographics, it’s important to note that the genre of music expands to a greater, though less recognized audience, with contributions that greatly impacted future performances.
In contrast to the relative anonymity of Fanny, one female rock guitarist who has received wide recognition and acclaim is Joan Jett. Jett’s prominence in music history is of interest when discussing women’s erasure because she can be seen simultaneously as a triumph for women in rock and an accessible image that simply panders to a multitude of audiences. Jett first came to moderate prominence as the guitarist in the band, The Runaways, followed by a largely successful and continuing solo career. Her hit songs, rebellious attitude and refusal to “engage with [the music industry’s] images of women in rock music” have made her one of the most recognizable female figures in the genre (Kennedy, 90). As noted by author Kathleen Kennedy, “Jett’s performance of female masculinity is not an imitation of male masculinity but rather, a distinct gender identity that exists in between middle-class definitions of appropriate masculinity and femininity” (Kennedy, 91). The question her popularity raises, however, is: does Joan Jett actually present a new brand of identity?
In a way, her success within a mainstream audience shows that she is likely not creating something new, because society is generally averse to change. If her uniqueness as an artist is the basis for her success, how can Millington’s entry into rock around the same time be received so differently? It can be argued that Jett does not contribute to the technology because she simply reiterates ideals already set. She didn't push boundaries for women in rock, and she didn't create any new playing styles or techniques. Should she actually be an LGBTQ woman, her mystique would disappear because she would no longer conform to the ideals of gender non-conformity. In other words, as long as she is a (possibly) straight, white woman she can get away with the types of androgyny and abrasive musical styles, that might not be available to other women. This isn’t to say that Jett should be erased from discussion, only that it is possible her contributions to the reconceptualization of the technology are not as revolutionary as history makes her out to be.
Fanny guitarist, June Millington, is a nearly forgotten figure in rock music, though her influence is far-reaching. She first picked up the guitar while growing up in the Philippines. As a Filipino-American woman, Millington knew her chance of success in rock music was limited, but her love of playing the guitar drove her to pursuing the career anyway. As she recalls, “I call this journey rock ‘n’ roll ‘manifest destiny’” (McCabe, 2016).
Fanny signed to Reprise Records in 1970, the second all-female rock group ever to be singed to a major label (Coates, 2011). Their music saw commercial success, with their song “Charity Ball” charting at 40 on the Billboard Hot 100 Charts (among other successes). Despite the collective talent of the band, Fanny did not stay in the spotlight for very long. “Why didn’t we have more hits?”, Millington asks, “the only answer for me is the world at large wasn’t ready. We could play like guys, but that wasn’t good enough for us” (McCabe, 2016).
Although history has not acknowledged the band's influence, Fanny's presence in the 1970s set a precedent for subsequent female bands. In order to break barriers, someone always has to always be pushing the envelope forward. Fanny delved right into the world of rock n' roll, and their mere existence as a band broke barriers in what women could do. They received national attention and major label funding, showing that a new attention to women in rock was emerging. Millington's drive to succeed not only advanced her career, but set an example for future women in music. Keeping her in the conversation is crucial because in order to keep progressing as a society, it's important to acknowledge and thank the people who drove social changes and paved the way for new opportunities.
Fanny is also a prime example of how boxing all women into a label based on gender separates them from the context of rock n’ roll. As history looks back on great “female rock bands” and “female guitar players”, women are thought of as a separate entity, pushed to the periphery. But women like June Millington, who played for the sheer joy of playing, and for a love of rock music should be recognized a rock pioneers. Her experience is a critical addition to rock history.
To this day, Millington continues to enable and inspire young women to pursue music. In 1986 she and her partner, Ann Hackler, founded the Institute for Musical Arts, whose mission is "to support women and girls in music and music-related businesses".
“One of the most important female bands in American rock has been buried without a trace. And that is Fanny. They were one of the finest… rock bands of their time, in about 1973. They were extraordinary: They wrote everything, they played like motherfuckers, they were just colossal and wonderful. They’re as important as anybody else who’s ever been, ever; it just wasn’t their time. Revivify Fanny. And I will feel that my work is done”
- David Bowie, Rolling Stone 1999