com
By Heather McCown
Women in Media
12/7/09
“I see that we were a part of the history, but you never know that you’re making history when you’re doing it…”
i
Nona Hendryx
When we think of women in the world of rock and roll, we generally do not picture
female guitarists at the forefront of this genre of music. Although there are only a handful of
women rock guitarists who have been highlighted in the media, there are many more throughout
history who have made great contributions to rock and roll. I will introduce some female
guitarists who have helped to shape rock and roll, discuss some of the reasons for their
Born in 1921, in Cotton Plant, Arkansas, Sister Rosetta Tharpe soon became one of the
most influential singer/guitarists of her time. Signed to Decca Records in 1938, she was soon
performing with Cab Calloway and Benny Goodman. Her guitar style influenced the likes of
Elvis Presley, Johnny Cash, Jerry Lee Lewis, and many more.
Bonnie was born in 1924, in Auburn, Washington. She came from a musical family, and
played clarinet before settling on guitar. After recording a demo for a friend, she caught the
attention of Fabor Robinson and was hired as a staff guitarists at Fabor Record Studios in
Malibu, California. Her success as a session artist eventually landed her on the Ed Sullivan
Show and she toured with Gene Vincent and the Everly Brothers. She continued writing and
Peggy Jones was born in New York City and went from being a young dancer at
Carnegie Hall to playing guitar with Bo Diddley in the late 50’s. Thus, she was dubbed “Lady
Bo” due to her ability to play just as well. She toured with Diddley, and eventually joined other
Wanda Jackson
Born in 1937 in Oklahoma, Wanda Jackson was taught how to play guitar by her father.
Her talent was recognized during her high school years, and she soon found herself joining the
Brazos Valley Boys as a vocalist in the 50’s. Signing with Capital Records at age eighteen, she
met Elvis Presley and began more of a rockabilly style. She covered music for Presley’s film
Loving You, and ultimately ended up veering away from the rockabilly genre when it started to
Cordell Jackson
Cordell Jackson was a rockabilly artist born in Mississippi in 1923. She not only wrote
and performed her own material, but she also had her own record label, Moon Records. Jackson
produced local artists as well as becoming a producer of a Christian radio show. She is still
performing today.
I have highlighted just a few of the women pioneers of rock and roll guitar, but there are
many more. Yet, they are rarely mentioned in historical accounts of rock and roll, and very few
people in contemporary times have heard of them. It appears that there are a number of factors
that contribute to this. We will examine some of these including; issues involving gender
abilities.
Firstly, the music canons which list the most influential artists of the time, are generally
written or influenced by major recording studios. During the 50’s-60’s, the emphasis was on
3
‘Girl Groups’, rather than women musicians as “most women in the early days of rock made
their mark as singers.” ii Thus, the large studios invested money in marketing these girl groups
and neglected to produce music by women guitar pioneers. This void was further perpetuated by
the lack of inclusion of women rock guitarists in anthologies or rock guides, “which commonly
privilege male performers.” iii One study of 31 music polls between 1974 and 2000 found, “out
of the total of 3375 entries recorded, 60 percent related to just 50 artists…and just three were
women.” iv This lack of representation by women in rock clearly shows how the public could be
misinformed by this information and believe that the pool of female artists is very small.
Another issue related to this is the way in which journalists have covered women rock
artists. It would seem like a case of the cat chasing its tail, as the more male artists are covered,
the more they are expected to be covered, while women are edged out or excluded, “as female
artists are less likely to have been granted cultural importance by music critics.” v This is
reflected not only in the male-dominated music industry, but also in the male-dominated news
media. The male journalists covering rock have been highlighted, while female journalists have
been under-represented. While, “the majority of writers included tend to be male,” we see that
there have been other authors who have attempted to rectify this discrepancy by publishing later
accounts of music articles written by women. vi However, the new histories which come out end
lists.” vii Venuszine, an online magazine dedicated to women’s creativity, published a list of 46
of the greatest female rock guitarists in response to the lack of coverage in the Rolling Stones
2003 issue of “The 100 Greatest Guitarists of All Time,” which only covered two women; Joan
Jett and Joni Mitchell. viii By covering the true history, and bringing women rock guitarists to
their rightful place in our media, this is a small step to addressing the lack of representation.
4
However, without larger media outlets picking up the gauntlet, the inadequacy is addressed on
Then there is the issue of the technical prowess of women as rock musicians. There is a
pervasive sense of disbelief that a woman can actually become an accomplished guitarist. First,
we must address the idea the rock and roll is a masculine art form. This categorizing early on by
the music industry and media, has further alienated women from being able to participate fully
and equally. While “the performance of heavy metal has become associated with male
musicians, other roles, such as the solo pop vocalist…[are] prescribed roles for female
performers.” ix By women accepting that they can only fit into the roles of singer/songwriter or
pop singer, anyone who does not conform to this stereotype is seen as “subversive,” x and
challenging the status quo. Thus, female musicians who dare to plug their guitars are seen as an
anomaly, or dangerous.
Lady Bo relates that she had to consistently prove herself as “a lot of people thought I
wasn’t playing, you know, that I had a tap recorder or something…” xi June Millington, of the
group Fanny, also commented on the male-dominated music industry that was perpetuated in the
60’s. Rather than being credited for their talent she explained, “you weren’t really expressing
yourself creatively, past proving to the world that girls could play like guys.” xii This lack of
credibility has passed down through generations. In 1992, Everett True wrote an article where
he addressed how, “rock is a firmly patriarchal form of expression…It’s too far gone now for
singer/songwriter/guitarist in New York City. When playing gigs, she found that most of the
comments about her music are directed towards her voice, and “the ones who do give me credit
5
for the skill I have on guitar are usually other musicians.” This points to the socialization of
music, and how audiences still only view women through the lens of singers, even if they are
playing instruments. She further described having to overcome the stereotype that women
guitarists are not as accomplished as male guitarists, and that “people expect him to be good until
proves otherwise,” whereas women are assumed to be less proficient. She shared a story
highlighting this stereotype by a bar manager in the West Village who stated, “Oh, that’s nice,
you wanna play a little ‘Mary had a little lamb for us?’” Although extreme, this type of attitude
is fairly common despite her years of experience. She counters, “people should expect that I’m
We even find accounts where a woman’s biological makeup is questioned as one blog
writer explains, “in some guitar-related activities, many women are disadvantaged by
physiological factors.” He further states, “in studies of the four muscle groups pertaining to
guitar…women possess 55% to 75% of the strength of men.” xiv This misinformation
discourages women from playing guitar, and encourages the status quo in terms of not covering
or supporting women guitarists. An interview with Mary Anne Barckhoff reveals this stereotype
when people first hear her band Viva la Venus play, “there’s this idea that because we’re women,
we’re going to be substandard.” xv Therefore, the women are reduced to some idea of gender
roles in relation to rock and roll that is not based on reality or fact.
This stereotype also impacts women musicians not only artistically, but also financially.
Saragoussi found that she was getting paid much less than other male musicians, who had less
performing experience, for the same quality and length of performance. She has since become
more assertive in “asking for what I feel I deserve as a seasoned performer,” something her male
6
Ingrid Hu Dahl, founder member of the Willie Mae Rock Camp for Girls, and musician
with Rad Pony and Boyskout, discussed her early experiences as a musician in a mostly male
band. With her band and the audience being predominantly male, she found herself having to
deal with “the different expectations and the dynamics between us.” She also found that the
audience related to her differently because she was a girl in the band, “which made it seem like I
was simply an extra special ornament that marked the band as ‘unique’.” This categorization
This exclusion of women on the basis of their perceived natural ability, lays the stage for
women guitarists who do break through as being a novelty, “in order to make an article appear
field.” xvi By making the female rock guitarists a spectacle, we are reaffirming the idea that it is
something rare, and that not all women can be rock musicians. Further, if women rock
musicians are considered something rare or a fad, “journalists both marginalize and reduce the
Women rock guitarists have challenged gendered stereotypes while balancing their
credibility and success as a performer within the industry. Joan Baez consciously dealt with the
preconceived ideas of gender in music, and refused to dress or look like the stereotypical female
singers of her time. By wearing plain clothes and long straight hair, she “undermined standard
perceptions about female performers by keeping the focus on her music.” This attitude and
appearance gave her music and songwriting a different level of respect and credibility. xviii Janis
Joplin was another performer who also challenged women’s expected roles during the
“atmosphere of change” of the 60’s. However, this atmosphere was still not particularly
7
inclusive of women as “attitudes toward women’s roles in society were not undergoing the same
degree of change.” xix She died without being able to experience artistic freedom as a female
artist and musician without the psychological and social pressures of the time.
Women rock musicians face pressure from the music industry to conform to accepted
gender stereotypes. “You hear this a lot- women getting heavily influenced to change their look
or sound to be less threatening…to get back to the safe norm,” said Dahl. This idea that women
are supposed to behave a certain way, translates through the music industry and affects how
producers and the audience view women as artists. Saragoussi relates how the mainstream music
industry is “making women into sexual divas…having them do almost nude magazine covers
and videos.” It is acceptable for women to be sexy and alluring, but, “female musicians who
have departed from conventional feminine gender identities on stage…have often been
This labeling of women rock guitarists or women rock bands as “subversive” leads to
further exclusion and loss of artistic credibility. As Dahl became more conscious of women’s
history, and the ways in which women have challenged these gendered notions, “this became my
foundational base, my sense of self, identity and my history.” She sees the power that
“conscious” female musicians can have. She utilizes this knowledge and her sense of humor to
challenge and transform stereotypes through her music, “to debunk stereotypes, wit, knowledge,
The Riot Grrrl movement began as a response and an idea of embracing the feminism of
punk music. Growing out of a movement out of Olympia, Washington on the West coast, and
Washington, D.C. on the East coast, “Riot grrrl developed and spread through social
communication at gigs and through zines.” xxi This movement directly challenged the gender
8
roles in music, vocally and unabashedly. The female bands would pass out flyers before their
shows that “requested girls and women to stand near the front of the stage,” thus challenging the
traditional area where men have coveted for slamdancing. xxii They also used subversive
advertising and interviews (or refusing interviews) to change the preconceived stereotypes that
the mainstream media has perpetuated regarding women in music. The radical ways in which
the riot grrrl movement positioned itself outside of the mainstream, only acted to further
“heighten the attention” to the movement. Whatever the long term result, the riot grrrl
movement “reworked conventions of female display and performance, allowing girls and women
Female rock guitarists have faced numerous issues over the years. They have fought
against a misrepresentation of their history, pushed to be included with other musicians in the
media and for recognition by the music industry, and have come up against stereotypical gender
arguments regarding their musical abilities, biological makeup, and credibility as artists.
I will now examine how the future for women rock guitarists might be shaped to reflect
an inclusive and powerful voice. First, women can promote and support festivals which
highlight female musicians. Secondly, women can network through the internet and establish
new ways of connecting with other female musicians. Women can also self-produce their music,
thus completely circumventing the music industry and bringing their artistic vision directly to the
audience. Finally, young girls can be encouraged through camps and at schools to play rock
One of the important ways women have been able to challenge gendered notions of rock
musicians, and to reach a larger audience, is through festivals highlighting women musicians and
9
performers. Ladyfest, Lilith Fair, Michigan Womyn’s Music Festival, and the Willie Mae Rock
Camp for Girls, are just some of the festivals that help to debunk stereotypes in a fun, inspiring,
and productive manner. These festivals offer ways women can network with other musicians,
Lilith Fair was founded by Sarah McLachlan, and inspired by the idea that women artists
had to compete for one or two slots in a gig. She was told, “no one…would pay to see two
women on the same bill,” which only encouraged her to create a “girlapalooza” to prove critics
wrong. xxiv The first festival kicked off in 1996, and featured artists including; McLachlan, Patti
Smith, Suzanne Vega, Lisa Loeb, and Aimee Mann. There is strength in numbers, and “Lilith
Fair did mark the first time such an event toured- and drew such widespread mainstream
attention.” xxv The controversy of whether women’s music would “suggest singers who hate
men,” or “be considered lesbian music,” xxvi did not detract from the primary intentions of the
festival, and further helped to initiate dialogue in the mainstream of the gender politics of music.
Ladyfest is a music festival that was created as a DIY (Do It Yourself) event for others to
reproduce around the world. The Ladyfest website allows for posting of festival information, and
helps musicians and promoters to network and support the festivals. Beginning in early 2000,
these festivals reflect the “philosophy and the forms of participation that…show a strong level of
continuity with the aims of riot grrrl.” xxvii The festival helps to address the gender issues in the
music industry, as the key motivating factors include “a desire to challenge: the continuance of a
masculinist culture within indie rock culture; the lack of representation of women within the
performing and visual arts; the difficulties encountered by female artists in terms of securing
contracts, promotion and distribution.” xxviii The level of networking and communication
surrounding the Ladyfest events show it as “an enabling device, building the confidence of
10
participants in their daily lives…not on the event as an end in itself.” xxix Thus, this platform
allows for organizers and supporters to define for themselves what the festival should mean, and
The Michigan Womyn’s Music Festival is celebrating its 35th Anniversary in 2010.
Created in much the same vein as the previous festivals mentioned, it is a week long festival in
Michigan which highlights female artists. In addition, the festival offers workshops for all ages
in visual art, dance, music, and other subjects which reflect the idea of creating a strong sense of
self and a “space to celebrate all things female.” xxx The festival uses music as a platform to
I have only mentioned a few of the music festivals which are actively focused on women
musicians, but these show the way women can challenge traditional gender stereotypes and
create a discourse about how rock and roll is represented. The coordination of these festivals and
events, as well as the networking opportunities they create, allow women to reach beyond the
confines of the mainstream media opportunities to create their own. The festivals and events
utilize the internet as a tool for dissemination of information, and a way for women musicians to
network throughout the world. This allows more women to become exposed to the ideas of
Another way in which female performers are challenging the traditional stereotypes is to
utilize the internet as a medium to bypass the mainstream music industry. As audiences are
relying more and more on Youtube for videos, and downloading music from a variety of internet
sources, such as iTunes, many artists are capitalizing on this for marketing and distribution of
their music. Without the need to be “signed” to a certain label, artists create their own and are
able to maintain control of their artistic vision. Thus, women musicians are able to resist the
11
need to “sell” their music through their image, and are instead able to focus on the music itself.
Kristin Hersh, singer/songwriter/guitarist formerly with Throwing Muses and now leads 50 Foot
Wave, utilizes a blog to post messages to her fans directly and maintain a running dialogue. She
has also created a benefactor program entitled, “Strange Angels,” which is a way for her fans to
donate through her blog to receive free music downloads, tickets, and other special perks in
return. Thus, she is cutting out a third party and is able to respond directly to her fans. She is
able to give them insight into her songwriting process as well as her own inspiration for her
music. This personal touch is something that the music industry has veered away from as the
focus has been more on selling rather than content. By utilizing these new media formats, artists
are able to maintain the integrity of their vision, and challenge who has the ultimate authority
over the distribution of that vision. Artists are able to take control, and close the circle between
the creative process, performance, and production. As the media formats continually evolve,
these innovative ways are limitless for women musicians to reach a wider audience.
Finally, the Willie Mae Rock Camp for Girls is a camp particularly geared towards youth
education through summer workshops and performances. Based on the idea “that music belongs
to everyone,” the camp offers intensive opportunities for girls and women to learn with hands-on
musical training, and reaches between 500-700 girls a year. The training covers all aspects of
music, from creation to production, and helps girls to become confident in building their skills
without the traditional gender pressures and categorization associated with the music industry.
The camp was founded in 2004, is offered every summer in Brooklyn, and is modeled off of the
Camps which provide youth education are a way to reach young girls at an early age
before they have been socialized by gender stereotypes in music. As one of the founders, Dahl
12
sees this as “important for that very reason to consistently work with, inspire and encourage
young women.” She also reflects on how these camps make a difference when she states, “I
know it [Willie Mae Rock Camp] would have changed my life and I would be much farther
Rock camps are a way to bring an intensely focused view of music to girls who may not
have already had exposure early on. Both Dahl and Saragoussi were encouraged by their
parents, but many other girls have not had that same experience. “It starts so young, this
tendency toward encouraging girls to be pretty, quiet, respectful, and find instruments that echo
those qualities,” said Saragoussi. Therefore, the need for more of these camps is crucial in order
for girls to grow up with the same breadth of knowledge in music as boys receive. This will help
to further challenge gender stereotypes, and help to create a more level platform where the artists
can be recognized for their music, not their gender. As Saragoussi muses, “maybe someday
we’ll flood the music scene with talented, professional guitarists and songwriters who are
featured on the radio, in concert, and in the Rock and Roll Hall of Fame frequently, proudly,
Conclusion
I have examined how women rock guitarists are overlooked and misrepresented
throughout history. I have highlighted some of the early female pioneers in rock music, and
discussed what factors have contributed to their lack of representation in contemporary music
canons. I have discussed the gender stereotyping of rock guitar as a masculine activity, and
examined what factors continue to contribute to this misinformation. Then, I discussed the
women rock musicians who are challenging this stereotype, and the various ways and platforms
they are utilizing to be effective. I have discussed the alternative ways musicians are able to
13
utilize new media to create and disseminate their music directly to an audience, and how
marketing and networking through the internet are essential ways for women to communicate
with a larger audience. Finally, I have highlighted the need for girls to obtain music education at
a young age, in order that they may learn to dismiss negative gender-based stereotypes and
14
Bibliography:
Clark. June 17, 2005. These Women Rock! Citizen-Times.com, as retrieved online from: http://www.vivalavenus.com/citizen-
times/citizen.htm
Dahl, I.H. Interview via email on 12/12/09.
Everett, T. As referenced in: Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT
Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition. Seal Press: New York, NY
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.
Millington, J. in, Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition. Seal Press: New
York, NY
Venus Zine Staff. (March 1, 2008). The Greatest Female Guitarists of All Time. Retrieved online at:
http://www.venuszine.com/articles/music/2575/The_Greatest_Female_Guitarists_of_All_Time
rockdoc.doc
i
Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition. Seal Press:
New York, NY.(p.51).
ii
Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition. Seal Press:
New York, NY.(p.12).
iii
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.28)
iv
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.28).
v
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.29).
vi
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.29).
vii
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.30)
viii
Venus Zine Staff. (March 1, 2008). The Greatest Female Guitarists of All Time. Retrieved online at:
http://www.venuszine.com/articles/music/2575/The_Greatest_Female_Guitarists_of_All_Time
ix
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.91).
x
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.91).
xi
Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition. Seal Press:
New York, NY.(p.14).
xii
Millington, J. in, Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition.
Seal Press: New York, NY.(p.123).
xiii
Everett, T. As referenced in: Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing:
Burlington, VT.(p.33).
xiv
Hayes. M. (n.d.) Female Guitarists. As referenced online at: www.bluesforpeace.com/female-guitarists.htm
xv
Clark. June 17, 2005. These Women Rock! Citizen-Times.com, as retrieved online from:
http://www.vivalavenus.com/citizen-times/citizen.htm
xvi
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.34).
xvii
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.36).
xviii
Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition. Seal Press:
New York, NY.(p.85).
xix
Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition. Seal Press:
New York, NY.(p.92).
xx
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.91).
xxi
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.117).
xxii
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.119).
xxiii
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.134).
xxiv
Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition. Seal Press:
New York, NY.(p.412-413).
xxv
Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition. Seal Press:
New York, NY.(p.413).
xxvi
Gaar, G. (2002). She’s A Rebel: History of Women in Rock & Roll Expanded Second Edition. Seal Press:
New York, NY.(p.413).
xxvii
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.167).
xxviii
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.169).
xxix
Leonard, M. (2007). Gender in the Music Industry. Ashgate Publishing: Burlington, VT.(p.172).
16
xxx
Michigan Womyn’s Festival information retrieved from: http://www.myspace.com/michfest
17