You Don’t Own Me: Feminist Anthems of the 1960s
Part 3 of "From Suffragettes to Taylor Swift: The Feminist History of Protest Songs"
You Don’t Own Me: The Feminist Anthem Explosion of the 1960s–1980s
Introduction: When Women Took the Mic
During the 1950s, the music industry mostly just expected women to smile sweetly, sing about their undying devotion to their (often mediocre) men, and never—under any circumstances—make too much noise. Then came the second-wave feminist movement, and suddenly, women weren’t just singing about love; they were singing about liberation, rage, and the fact that they deserved a whole lot more than what society was offering.
Between the 1960s and the 1980s, women in music took on a new role—not just as performers, but as revolutionaries with guitars, pianos, and microphones as their weapons. From folk ballads calling for justice to rock anthems shredding gender roles to disco hits celebrating survival, these songs weren’t just catchy—they were a rallying cry for a generation of women demanding to be heard.
And if the world didn’t like it? Well, that was their problem.
This is the story of how feminist anthems evolved across three decades, breaking barriers, challenging norms, and proving once and for all that women in music weren’t just here to entertain—they were here to change the world.
1960s: The Sound of Women Pushing Back
The 1960s were a decade of radical change—civil rights, anti-war protests, and, of course, the rise of second-wave feminism. While women were fighting for reproductive rights, equal pay, and an end to outdated gender roles, they were also carving out space in music. The industry still treated them as second-class citizens, but that didn’t stop these artists from using their voices to fight back—sometimes subtly, sometimes loudly, but always with a message.
These songs weren’t just background noise to the feminist movement—they were part of it.
“You Don’t Own Me” – Lesley Gore (1963)
At just 17 years old, Lesley Gore dropped what would become one of the most iconic feminist anthems of all time. You Don’t Own Me wasn’t a breakup song—it was a rejection of control, a defiant stand against the idea that women should be pretty, obedient, and grateful for whatever attention they received. In an era when most girl-group songs revolved around devotion to men, Gore told men not to love her if it meant ownership.
The song became a soundtrack for women breaking free from societal expectations; decades later, it’s still a rallying cry. If you’ve ever screamed this song at the top of your lungs, congratulations—you’re part of a long tradition of women refusing to be told what to do.
“Ain’t No Use” – Nina Simone (1965)
Ain’t No Use was the anthem of women realizing they were too good to beg for it. Nina Simone’s velvet voice carried the message: If you don’t see my value, I won’t waste my time convincing you.
Ain't no use baby
I'm leaving town
Ain't no use daddy
I'm putting you down
I'm gonna change my name
Things won't be the same
'Cause I'm tired of playing your game
This song is feminism in its purest form—not a plea, but a declaration. It’s the quiet confidence of a woman who knows she deserves better, even if society keeps trying to convince her otherwise.
“Four Women” – Nina Simone (1966)
The term “intersectionality” wouldn’t be coined by Kimberlé Crenshaw until 1989, but in 1966 Nina Simone was already practicing it. While most songs on this list call out sexism, Four Women took things even further, confronting the racism that shaped the lives of Black women in America.
This song was revolutionary. It didn’t just talk about oppression—it forced people to look at it. And for Black women, who were often sidelined in both the civil rights and feminist movements, Four Women was a reminder that their struggles mattered.
“These Boots Are Made for Walkin’” – Nancy Sinatra (1966)
Before disco gave us I Will Survive, Nancy Sinatra gave us These Boots Are Made for Walkin’—a song that let women know they didn’t have to stay in bad relationships (or tolerate nonsense from anyone). The message was simple: If you mess around, I will leave, and I will look amazing doing it.
This song wasn’t asking for permission or forgiveness. It was a strut down the street after dumping a loser, a high-heeled stomp on outdated expectations, and a warning to men who assumed women were too weak to walk away. Sinatra made it clear: these boots weren’t just for walking—they were for marching forward.
“Respect” – Aretha Franklin (1967)
Otis Redding wrote Respect, but Aretha Franklin owned it. She didn’t just cover the song—she transformed it from a man’s plea for affection into a woman’s demand for equality. With her powerhouse vocals and those unforgettable R-E-S-P-E-C-T chants, Franklin turned the song into a national anthem for women who were sick of being overlooked, underpaid, and dismissed.
In a decade where women were still fighting for basic rights—like the ability to get a credit card without a husband’s signature—Aretha made sure they had the perfect song to demand what they deserved. And if men felt called out? Good.
“Women Is Losers” – Big Brother and the Holding Company (1967)
Before Janis Joplin became a rock legend, she recorded Women Is Losers with Big Brother and the Holding Company. The title sounds like an insult, but the song itself is a sharp critique of how women were set up to fail from the start.
The lyrics don’t sugarcoat anything: “Women is losers… Men always seem to end up on top.” It was Joplin’s way of acknowledging the reality of sexism while also refusing to be defeated by it.
And in true Joplin fashion, the song wasn’t just a complaint—it was a call to action. Women could win, but only if they fought for it. And fight they did.
“Just Because I’m a Woman” – Dolly Parton (1968)
Just let me tell you this
Then we'll both know where we stand
My mistakes are no worse than yours
Just because I'm a woman
Now a man will take a good girl
And he'll ruin her reputation
But when he wants to marry
Well, that's a different situation
Dolly Parton may not always be the first name that comes up in feminist music, but make no mistake—she’s been calling out double standards for decades. In Just Because I’m a Woman, she takes aim at the hypocrisy surrounding women’s sexuality.
The lyrics are painfully relatable: a man criticizes a woman for her past, but when she turns the question back on him, he suddenly has nothing to say. Sound familiar? That’s because this double standard is still alive and well today. Dolly was ahead of her time, and her signature sweet voice made the bitter truth of the song even sharper.
“Harper Valley PTA” – Jeannie C. Riley (1968)
Before The Chicks were calling out country hypocrisy, Harper Valley PTA was serving small-town scandal on a silver platter. Written by Tom T. Hall and performed by Jeannie C. Riley, this 1968 country hit was more than just a catchy tune—it was a full-on feminist takedown of the double standards that plagued women, especially in conservative communities.
The song tells the story of Mrs. Johnson, a widowed mother who receives a strongly worded letter from the local PTA, shaming her for wearing short skirts and drinking in public. Instead of bowing to their judgment, she marches straight into their meeting and systematically airs out their dirty laundry—calling out their affairs, alcoholism, and overall hypocrisy. Turns out, the same men policing women’s behavior were the ones sneaking around behind closed doors. Shocking.
The song shot to #1 on both the country and pop charts, making Riley the first woman to top both at the same time—a testament to just how many people, especially women, saw themselves in Mrs. Johnson’s righteous rage.
Decades later, this song still holds up, because let’s be honest—small-town hypocrisy and sexist double standards? Still alive and well.
Conclusion: The Soundtrack of a Revolution
The women of the 1960s didn’t just write songs—they wrote history. Whether through folk, rock, soul, or country, these artists used music as a weapon against the patriarchy, calling out double standards, demanding respect, and letting the world know they weren’t here to be quiet.
Lesley Gore told young women they didn’t have to be owned. Aretha Franklin spelled out exactly what she deserved. Nancy Sinatra strutted away from bad relationships, while Dolly Parton and Jeannie Riley exposed hypocrisy with a country twang. Nina Simone refused to sugarcoat the struggles of Black women, and Janis Joplin reminded us that if women wanted to win, they had to fight harder.
And fight they did.
The 1960s laid the groundwork for feminist anthems that would only get louder, bolder, and more unapologetic in the decades to come. But it all started here, with these women, these songs, and a generation that refused to stay in the background.
Because if history has taught us anything, it’s that once women find their voice, they don’t stop singing.