In February, we celebrate Black History Month, immersing ourselves in the rich musical heritage of African Americans. As March arrives, Women’s History Month presents an opportunity to explore the songs that resonate with the experiences of women. While countless songs are by women, the question arises: how many truly capture the experience of womanhood, fostering community and empowering collective action for social change?
This question resonated deeply as I discovered the PBS documentary, Rise Up: Songs of the Women’s Movement. Airing in March, this documentary, accessible through PBS Passport with a donation to your local station, offered a fascinating exploration. Initially, I watched it for personal enjoyment, but soon shifted my perspective to that of a congregational song leader. Could these songs, born from the women’s movement, transcend their original context and become anthems for groups seeking solidarity and justice for women? I envisioned these songs resonating not just in worship settings, as they aren’t explicitly faith-based, but in rallies, meetings, and gatherings where women unite to uplift and empower one another.
Holly Near sings at a rally in San Francisco in the 1970s, highlighting the era's activism and musical expression
Musician and women’s rights figure Holly Near sings at a rally in San Francisco in the 1970s. Photographer unknown. Photo found at KPBS public radio webpages.
Rise Up journeys from the women’s suffrage era to today, primarily focusing on the vibrant music scene of the modern women’s movement (1963-1985). The documentary begins this period with Lesley Gore’s iconic 1963 hit, “You Don’t Own Me.”
This song is a personal favorite from my childhood, a staple on the oldies radio station that filled my teenage bedroom. Watching Rise Up, I gained a new appreciation for the song by hearing Lesley Gore’s own perspective. At just 17, she delivered a powerful message of self-assertion that must have been incredibly liberating for young women in the 1960s. The simple declaration of “being yourself is enough” was revolutionary.
“You Don’t Own Me” experienced a significant resurgence decades later in the 1996 film The First Wives Club, in a scene that cemented its status as a feminist anthem.
The scene of Bette Midler, Goldie Hawn, and Diane Keaton performing this song encapsulates its power to unite women. However, as a congregational song leader, I consider a few aspects for group singing. Firstly, the lyrics, while potent, feel individualistic. Imagine the amplified impact if the words shifted to the collective: “You don’t own us. Don’t tell us what to say. Just let us be ourselves!” The strength of women’s liberation lies not just in individual freedom but in collective solidarity, a sisterhood embodied by the spirit of The First Wives Club. Secondly, the song’s musical structure presents a challenge for a cappella renditions. The key change within the chorus, while musically interesting, complicates singing without instrumental accompaniment. Despite these points, “You Don’t Own Me” clearly retains its resonance, proven by Kristin Chenoweth and Ariana Grande’s 2019 cover, indicating its continuing relevance for new generations.
Another impactful song highlighted in the documentary, and new to me, was Helen Reddy’s “I am Woman” (1972).
Ginny Chilton Maxwell, author of the article, discussing the relevance of women's movement songs for today's congregations
Ginny Chilton Maxwell, Music Minister and author, reflects on the power of women’s songs.
In a 2003 interview, Reddy explained the song’s genesis:
“I couldn’t find any songs that said what I thought being woman was about. I thought about all these strong women in my family who had gotten through the Depression and world wars and drunken, abusive husbands. But there was nothing in music that reflected that.”
Her words resonated deeply with my own search for songs that articulate the female experience. Reddy’s performance style, often featuring a simple haircut and minimal makeup, further emphasizes the song’s message of authentic female strength. And “I am Woman” is undeniably catchy and empowering. It’s easy to envision women gaining confidence and strength, belting it out in their cars on their commute, or singing together in homes. The melody is accessible, making it singable even without instrumental backing.
However, considering it as a congregational song, the lyrics again lean towards individualistic empowerment rather than collective liberation. While powerful, the message of personal strength could be amplified by emphasizing communal support. Liberation is not just about escaping oppression individually, but about being embraced by a supportive community, a network of individuals who understand shared pain and offer partnership in building new lives. Reddy declares, “I am woman, hear me roar!” but the power of that roar is undeniably amplified when echoed by a chorus of voices.
Among the documentary’s many excellent musical selections, Holly Near’s “Fight Back” (1985) stood out most profoundly from a congregational singing perspective. Unlike “You Don’t Own Me” or “I am Woman,” “Fight Back” didn’t achieve mainstream chart success. Yet, as evidenced by live recordings from the Michigan Womyn’s Music Festival, featuring Near accompanied by hand drums and a chorus of voices, its power lies in its communal and protest-oriented nature.
The African American Civil Rights movement utilized songs like “We Shall Overcome,” anthems easily sung in unison, fostering solidarity during marches and protests. “Fight Back” embodies this spirit with lyrics perfectly suited for protest:
By day I live in terror
By night I live in fright
For as long as I can remember
A lady don’t go out alone at night.
But I don’t accept the verdict
It’s a wrong one anyway
˜Cause nowadays a woman
Can’t even go out in the middle of the day.
And so we’ve got to fight back
In large numbers
Fight back, I can’t make it alone
Fight back, in large numbers
Together we can make a safe home
Together we can make a safe home
The song’s upbeat rhythm and catchy melody enhance its singability, while the lyrics directly address collective action against injustice. While employing “I,” it serves to connect individual experiences, highlighting shared vulnerability. The repeated emphasis on “Together, together we can make a safe home!” and the poignant line “I can’t make it alone” underscore the critical need for unity.
The second verse further reinforces this message, rejecting isolation and fear in favor of collective strength:
Women all around the world
Every color, religion and age
One thing we’ve got in common
We can all be battered and raped
Some have an easy answer
They buy a lock and they live in a cage
But my fear is turning to anger
And my anger’s turning to rage
And I won’t live my life in a cage, no!
For those seeking a women’s rights protest song, penned by a woman, and readily adaptable for group singing with minimal accompaniment, “Fight Back” emerges as a powerful choice. It’s a true “Rise Up Song” in its purest form.
Rise Up effectively conveys a central theme, echoed by figures like Melissa Etheridge and Gloria Steinem: music was instrumental to the women’s movement’s success. Paraphrasing Etheridge and Steinem, “Music bypasses the mind and goes straight to the heart,” a sentiment that resonates deeply with my own work and experience.
I encourage others to watch Rise Up. What were your impressions? And what other potent songs of the women’s movement might have been included? Exploring these musical expressions is vital to understanding and continuing the legacy of the women’s movement and its ongoing fight for equality and justice.
