10 Feminist Anthems for the #MeToo Movement

The rise of a new wave of Feminism and the #MeToo movement has created some kick-ass and powerful songs that epitomizes the advocacy for justice of womyn who have been affected and marginalized by men, which exposes the limiting facets of the patriarchy and the strive for gender equality. Essentially, these songs deliver a message, particularly to men that this sexist shit isn't cool, and to even consider abiding by these cultural statures is offensive and demeaning. So what do these fiery tracks sound like...well, take a listen:

10.  Your Dog - Soccer Mommy

Soccer Mommy, with contemporaries such as Diet Cig, Chastity Belt, Girlpool and Snail Mail are artists snuggled deeply within a similar feminist indie rock scene, and Soccer Mommy's "Your Dog" is an anthem that this scene is unintimidated to sing out. "Your Dog" is a track for womyn to say in unison, "I don't want to be your fucking dog," I will not let you control my life or let you put a "collar on my neck." This song is an efficient first cry to fellow womyn who just don't want to be undermined or treated like an accessory or a person with marginal rights "because I don't want to be your baby girl/That you show off to the world." A stepping stone for womyn to open their mind to any dehumanizing treatment and take notice of a male-driven world that tends to have a bias for one gender.

9.  Punchin' Bag - Cage the Elephant

I can imagine the confusion and possible hypocrisy of having a male band on a feminist anthem list, especially in reference to the #MeToo movement, however, I think "Punchin' Bag" offers a substantial voice in a #MeToo world. What's drawing about this recent Cage the Elephant endeavor is its encouraging appeal for womyn to fight back, and the view that womyn are just as dangerous and powerful as men and if you continue to mistreat these people, they'll "swing back." Even more so, is that the song addresses men for their part in marginalizing and making womyn "other." It does so in addressing domestic violence, but instead of primarily focusing on blaming men for their bullshit, it focuses on womyn and how fed up they have become; strengthening womyn and considering that they can fight their own battles just as well without men having to come and solve their issues. "If you take a swing, she swing back/Say I'm not your punchin' bag."

8. Slutmouth - Girlpool

"Slutmouth" gives it to you straight, "I don't wanna get fucked/By a fucked society," and this desire is ever-present within a womyn's life, but often times this abhorrent societal displacement is unavoidable. Every line in this song is indicative of these motifs such as: "I heard you had a slutmouth/From the boy down the street," "I go to school everyday/Just to be made a housewife one day," "I go to work everyday/Just to be slut shamed one day," "Sometimes I wanna be a boy/Never really wanted girl toys." Being an almost acoustic effort, "Slutmouth" does that whole singer/songwriter thing that puts emphasis on the lyrics but the raunchy, high pitched and in-unison-singing is a clear representation of the disparaging effects that living in a sexist society and wanting to break free from said society has, while the duet signifies that all womyn are part of this shit too and it is not merely an individual issue.    

7. Just a Girl - No Doubt

"Just a Girl" is the 90's feminist anthem with enough grit and pop to be pervasive and evocative. Like Girlpool's "Slutmouth," "Just a Girl" is choc-full of verses that may make you re-think the track as more than a ska banger. "Oh I'm just a girl, all pretty and petite/So don't let me have any rights," "'Cause I'm just a girl I'd rather not be/'Cause they won't let me drive at night," "I'm just a girl in the world.../That's all you'll let me be," and "Oh I'm just a girl, guess I'm some kind of freak/'Cause they all sit and stare with their eyes," are just a few examples of relatable, progressive and impactful feminist verses, depicting the mistreatment that womyn endure for just being womyn. The entire song rolls out these feminist verses, offering a cry for the #MeToo movement to expose this inequality, and its pop element allows the track to pervasive enough to be considered. The melodies work perfectly with Gwen's aggression with each manic chorus, along with the fast paced chords mirroring Gwen's intimidating bravado. So, a song about progression that also makes you want to party, that is a recipe for an anthem. 

6. Nameless / Faceless - Courtney Barnett

In 2018, chauvinism was getting his ass kicked by some badass womyn: Soccer Mommy, Snail Mail Camp Cope and the dude with this 6th spot, Courtney Barnett. This particular Barnett entry and arsenal of feminism, is created in a way that expresses what a legitimate threat means to a womyn versus a man. The premise of the song is of internet trolls, their meticulous and sociopathic nature-akin to hidden assailants-and their ambiguous nature that is evident in their 'nameless/faceless' approach to belittlement. While premised of trolls, the chorus: "I wanna walk in the park in the dark/Men are scared that womyn will laugh at them/I wanna walk in the park in the dark/Womyn are scared that men will kill them," indicates a feminist perspective in terms of threats that occur within a physical world, where online trolls are replaced with particular abusers of the two genders. It is on this metaphorical stroll that for men, a realistic threat is being embarrassed or emasculated, particularly by womyn, whereas womyn have the realistic threat of being physically harmed and even killed by men. This exposed dichotomy is Courtney Barnett expressing that threats are different for both men and women in terms of severity and equality. So, while these trolls, online or tangible, are attacking people, threats become bifurcated to each gender, piggybacking on issues of sexism. These threats are not an imagined idea created by feminists to bring men to their knees, rather it is a reality which needs to be talked about. It's shocking but genuinely realistic, and can create a progressive dialogue amongst both men and women, which gives this song some serious merit. Also, it rocks.

5. Ladylike / WHATTA BITCH - The Regrettes

One of the best songs to come from The Regrettes' awe-inspiring and punk-rock-feminist manifesto, Feel Your Feelings Fool, "LadyLike / WHATTA BITCH" is everything for womyn to relate to, and are two collective lists of things for womyn to loathe. For instance, misogyny, insecurity, gender roles, womyn ganging up on other womyn, and cultural biases that shape the lives of womyn that further disassociates any equality with men. The presentation of these two lists is cleverly labeled as "LadyLike" and "WHATTA BITCH" respectively, which presents the aforementioned assembly of detriments with a calming and formal set of rules, juxtaposed with unfortunate cultural realities and comments that act as guides to shape womyn into the desires of scopophilia or male desire. It is line after line of feminist hatreds in an addictive and upbeat fashion-created perfectly to coincide with the 1960's theme of the album-where the melodies and rhythm of the instrumentation soar consistently high to the point of head-banging and sing-alongs. "LadyLike / WHATTA BITCH" is a perfect anthem for the #MeToo movement to provide motivation and clarity to the fight and its importance. This anthem is the reason for feminism; the reason that women strive for gender equality and to not have to be treated like second-class citizens. It's just fun for the entire family. 

4. Seashore - The Regrettes

The suggestion that womyn are not as capable as men in regards to anything can quite frankly suck it. "Seashore," another track from Feel Your Feelings Fool, is essentially that aforementioned premise; we're fed up with this misogynistic bullshit and we'll kick your ass if you want to test your "manhood." This idea is conceptualized within the lyrics speaking to men who want to question the strength and integrity of a womyn against their own insecure ideology. Speaking to womyn as if they're handicapped, that being a womyn is less is a ludicrous notion, but while playing with that idea The Regrettes are saying "well at least I'm not six feet in the dirt." At least they are not out of the picture: dead without anything to contribute or offer in the imprisoning patriarchy. And not only are they still "hanging with the big dogs," but they can kick your fucking ass, even in the 'feminine' skirt. This song is a bit of a fireball in its badass insinuation: that although we are womyn in a man's world, we can not only manage but we can be better than you. It's a true feminist anthem that epitomizes rock and roll today: womyn at the wheel, and The Regrettes and members of the #MeToo movement can use this rhetoric as an identifier as to why womyn should be considered on the same playing field as men. 

3. I'm Not Your Mother, I'm Not Your Bitch - Courtney Barnett

In my opinion, this Barnett snarl of frustration is one of the realest songs for the #MeToo movement and of 2018. While this song is terse, it is succinct and analyzes the two roles that men append to womyn: a mother or a bitch. The mother of course being only good for making babies and being domesticated to a husband, and the bitch in reference to being owned by a man and not as an adult member of a relationship or society as a whole. (Obviously, there are men who do not assume womyn to fulfill these sole roles, because objectively speaking womyn can do more, but there is an inherent sexist undertone when there's legislation created by men who limit the control a womyn has with their own body. So those who want to argue that women are now equal with men in regards to enterprise, may want to check with law prior to any assertion). Through her wails, abrasive, heavy, muffled and off-key riffs, Courtney Barnett represents her and the frustration of all womyn, regarding these two roles as the sole constructions for womyn in this patriarchal world "Sit down and shut up, it's all the same/It's all the same, never chang, never change!" However, instead of submitting and continuing on as a second-class, marginalized citizen, Courtney Barnett decided to push-back and disclose her true feelings, those like all her fellow womyn that she can't take this bullshit anymore: "I try my best to be patient/But I can only put up with so much...shit." What makes "I'm Not Your Mother, I'm Not Your Bitch" an anthem, is the decision to not hide from threatening gender roles, to be vocal, and take a stand to any oppressive patriarchy, because womyn should not just be subjugated to two roles, a mother or your bitch, because fuck that. 

2. Face of God - Camp Cope

One of the important aspects of the #MeToo movement is the focus on liberating womyn by allowing them to come forward without fear or caution in regards to the victimization of sexual assault. The #MeToo moment is about letting every womyn feel comfortable to tell her story and feel confidant about not needing to hide from their experiences, and bring any abuser or assailant to justice without being discriminated or have to endure victim blaming. "Face of God," is one such story. It wasn't easy to release "Face of God" as lead singer Georgia Maq tells Pitchfork, "I was scared to play that song in front of people because I didn't want them to ask me about my experience. But when #MeToo happened, we were like 'It needs to go on the album. It needs to be heard.'" The unity and togetherness of the #MeToo movement is able to inspire social justice, or at the very least, vocalize injustices that continually occur. "Face of God" is Maq's experience with a supposed famous musician, "you've got that one song I like," and it is quite frankly terrifying. There are no explicit details of what exactly that assault looked like, however we are told of the trauma and bemusement that had transpired and the fact that this occurrence was just swept under the rug as if it never happened "Not you, nah your music is too good/They said your music is too good." What is unsettling is coming to grips with this event, "could it be true/you don't seem like that kind of guy;" the action took place, but to Maq it is almost unbelievable and unimaginable that such a frightening experience could have happened, making her second-guess herself. What's even worse is the inevitable victim blaming and for the listener, it makes you so badly want to console and comfort Maq, "Now I don't even know why I went/Every light was screaming at me 'red'/Now you've got me questioning everything I did." When listening to this particular excerpt, you can help but empathize with Maq, while just wanting to scream out "It's not your fault!" or "You are the victim!" Nevertheless, it is songs such as "Face of God" that need to be heard by everyone, men and womyn alike, and that need to keep being made by those who need an outlet, catharsis or find it as the best method to call out their assaulter. "Face of God" is a song that epitomizes why the #MeToo movement is apparent, what it stands for and why we should all be behind it.

1. The Opener - Camp Cope

"Face of God" may be what the #MeToo represents, but "The Opener," while too embodying the #MeToo movement, explicitly details the sexist culture that womyn endure, the impact it has on womyn and why womyn are badass and don't need a man to tell them what to do, how to act or what's appropriate. What permits "The Opener" as a an anthem is the relatable nature it possess for all womyn. In the same interview with Pitchfork Georgia Maq tells how cathartic making "The Opener" was for the band and the validation they felt when fans would say "this is my experience!" The reason being, it straight up addresses the issues that surround sexism within a rhetoric or action that a man does. Its beginning discusses the contradicting nature of a past relationship that Maq has had, as how the person's apathy slips into devotion and back again "tell me you never want to see me again/And then keep showing up at my house," setting up the hypocrisy that invariably make up the sexist culture. Continuing on, the subtly of sexism is made mentioned in the exaggeration of the following lines: "If I was hungry then you were starving/And he was so sick but you were dying...Now tell the dead man that you're the one dying." Considering the beginning of the song is addressed to a man of a former relationship, it can be assumed that the hyperbole is in reference to men trying to be "manly" and trying to bear a larger brunt than women as Maq's hunger is nothing compared to his starving because these men are enduring much more...And now that Maq's anger has reached a boiling point, her frustrations, like Courtney Barnett's "I'm Not Your Mother, I'm Not Your Bitch," take full control of the song as she pours out and explains all the sexist shit that is holding womyn back and who is really to blame. Men, purposely or inadvertently, try to tell womyn how to act and how they feel would bring about equality when they are not taking into account how women actually feel and what struggles they truly encounter. It makes equality more problematic and somehow controversial which is bullshit, and the reason for Camp Cope's equal annoyance by the entire faction. Utterances, depicted by Maq, such as "Tell this one 'yeah they were all crazy, unlike you baby'" further evokes misogyny because the man in this instance is telling a womyn that all womyn are crazy but that she is not like them, she's sane like the guys. Fueling male dominance, this not only puts down womyn but confuses the womyn in question by segregating her from her gender and stripping away her identity. But men typically do not see the issue "And never reflect to think 'wait, maybe the problem was me;'" even attempting to take credit for a womyn's success rather than bestowing that deserved accolade to the womyn who worked so hard just to be noticed "And all my success has nothing to do with me." I can sit here and write a full paragraph for each line of this song but instead of creating a larger sense ennui for those who have actually read this far allow me to throw down some lines that can speak for themselves: "Yeah, tell me again how there just aren't that many girls in the music scene," "It's another all-male tour preaching equality/It's another straight cis man who knows more about this than me," "It's another man telling us we can't fill up the room/It's another man telling us to book a smaller venue...Well see how far we've come not listening to you," and of course, the titular line, ""Yeah, just get a female opener, that'll fill the quota."" Camp Cope is surely no opening act, and is a feminist group that isn't afraid to speak out and represent womyn in a positive light, which embodies the spirit of the #MeToo movement; the cumulated frustration, the push for representation, justice and equality while celebrating womyn for all the success in battling back against sexism and patriarchal limitations and institutions. All of this is explicitly mentioned and then some in "The Opener" and serves as the perfect anthem for the #MeToo movement and any feminism movement from hereafter.