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Feminist Rage Anthems · Pop Culture Junkie®

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♪ Entertain me, entertain me right now ♪
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- Hello, and thank you for joining us
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for another fantastic, fun and feminist episode
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of the Pop Culture Junkie Podcast.
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I'm here, as always, with my fellow junkie.
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- Shauna, but what's your name?
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- Olivia.
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- I, and, you know, we're just small in with it.
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We're doing amazing, sweetie.
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We're doing so well.
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- We're done.
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- Yeah.
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- How the whole year?
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- You know, I'm having the back in America blues
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a little bit, but--
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- Okay.
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- That's just a reality of living here, I think.
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- Yeah, just kidding.
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- God bless America.
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- I'm okay.
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I have been watching, oh my gosh,
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I have my list of every scary movie
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that I've watched over the past week and a half,
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and it's insane.
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I'm trying to watch at least one scary movie a night.
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So far, I have watched The Whisper Man
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as above so below Back Room's day of the dead,
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Halloween 3, The Exorcist 3, The Fog, Devil,
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these final hours, Shutter Island, The Hunger.
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I just started extinction today,
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and then I totally binge watched Crystal Lake
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on Prime Video.
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So I'm doing good.
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- I love that, yeah.
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- Yeah, Shona and I were shit talking.
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I'm night Shommelon, and then we were like,
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should we put on Devil?
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Because, you know, you love him and you hate him.
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You love him and you hate him.
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I tried to get her to immediately start
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the happening with me,
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but she was like, Olivia, I need to go home.
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- Yeah, I gotta go home.
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It's like 10 o'clock at night.
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We're old, we got work in the morning.
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- Yeah.
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- No, I love Devil.
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I know it's, I know Shommelon.
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- No, good.
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- He's so good.
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- He's so hit and miss, man.
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Oh, I need to add old to my list
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'cause I've watched old too.
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And that's why we started talking about In Night Shommelon.
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- Is it really like, I've been lacking on my scary movies.
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- Yeah, dude, you gotta step it up.
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Some of these that I've watched were really good.
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Like, Exorcist 3, surprisingly very good.
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When did that come out?
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Oh gosh, 1990.
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I wanna say, but I've read a lot of lists
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that say the Exorcist 2 is shit, don't watch it.
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But that the Exorcist 3 is the cult classic.
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And I saw it on a lot of lists that were,
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like the most powerful or most effective jump scares
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in movie history and a jump scare
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from Exorcist 3 was on there.
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And I knew it was coming and I still was like, oh!
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(laughs)
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So, the story of that jump scare.
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- My lights flickered and I didn't love that.
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- I know, let's try it again.
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- Dad?
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- Jump scare.
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- Dad, Buffy?
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Mom?
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Penny?
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- God.
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- I think if you're a penny, it's right there.
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Dad's over there.
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So.
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- Buffy's right here, so it could be any of them.
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(laughs)
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- They said, you know, I loved the Exorcist 3 as well.
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- Yes.
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And then I watched Halloween 3
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and it was the only Halloween movie
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to not feature Michael Myers.
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Because the creators of it wanted,
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they thought it was gonna be an anthology
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and they thought that they were just gonna create
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like a bunch of movies that all took place
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on Halloween night.
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And so it's a completely different story.
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It kind of reminds me of an episode of Buffy meets
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the Twilight Zone, like evil Halloween masks
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by a demon and taking over the town.
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It was very cheesy, but I liked it.
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- It's giving me a tip.
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- Ghost Busters.
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Ghost Busters mask.
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- Yeah, it's like, are you afraid of the dark
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in that episode of Buffy Halloween
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where they all become their Halloween costumes?
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So it was good.
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- Also Halloween town.
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No, I've really been sucking this year.
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- Step it up, babe.
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- I start, I know, normally I start my scary movie bench
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in September and I watch a scary movie every day.
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But, you know, I think there's enough spooky scary
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is going on in the world where maybe I'm like, you know,
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but it's true.
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The real hellscape is turning on the news.
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- It's turning on the news.
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It really, really is, but, you know what, you're inspiring me.
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Maybe I'll start a new one.
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Have you actually speaking of a little spooky scary monster?
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Have you watched below on Netflix, yeah?
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- No, it is next on my list.
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I'm thinking I might wait for Andrew to get home.
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He's on another work trip right now as we speak,
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but I think I might wait for him for that one.
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I really like Josh Hartnett and I've heard good things
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about it.
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He is killing this Canadian accent,
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but it does make him less hot.
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It's a really authentic Canadian accent,
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but there is a way where he could be less hot.
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And it's that accent, but he's so good at it.
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Where you're like impressed.
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- I don't think I've never dated a Canadian.
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I don't think I've ever slept with a Canadian.
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- Oh, it's like, I don't even really know
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what part of Canada they're from,
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but it's like, oh, don't you know, really in there?
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- So free.
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- So free in there.
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- We love our Canadian fans.
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- Love you as the haters, not me.
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- I did that to a Canadian this weekend,
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and he was like, what the fuck?
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No one sounds like that.
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And I was like, Josh Hartnett does him below, okay.
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- Listen, listen.
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I'm gonna give it a whirl
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because I really liked him in the "Immnite"
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"Shot-A-Lon" movie where he's the dad.
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- Like, he's a serial killer.
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- It's kind of a terrible movie, but I loved it.
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It was one of those movies that it's so bad,
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but I don't know.
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I was a tequila shot in and I was hanging out
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with my sister-in-law and we looked really cute
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and ate a lot of popcorn.
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Giggle that Josh Hartnett.
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- Josh Hartnett, got you all rigged up.
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I think we talked about this last time.
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- I think so too.
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Everything comes back to Josh Hartnett
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in "Immnite" "Shot-A-Lon".
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(laughing)
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No, but do you watch Crystal Lake?
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It's really good.
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Linda Cartelini is great in it.
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And it's all about Jason, Friday the 13th.
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And it's kind of like the backstory of her dealing with
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his mother, the grief of losing Jason at camp.
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That's not as good as it was.
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- That's literally the first five minutes of the movie.
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- I've heard the opening scene is like
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Pete, like one of the best scenes in our show.
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- Yeah, sure.
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- So I am very, very interested to start it
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and speaking of female rage within Crystal Lake.
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We wanted to have a little bit of an episode today
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to talk about feminist rage anthems.
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And so women have always had a reason to protest.
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And sometimes they even sing about it.
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Music has been at the center of a lot of protest,
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a lot of expression around women,
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their struggles and things like that.
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And so we wanted to talk a little bit
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about the feminist rage anthems
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that we've seen throughout popular culture,
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throughout the years, starting back further
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than you would probably even think.
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These songs date back to early recorded music.
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We even see them really start
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in the women's suffrage movement.
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So in 1910 to 1920s, as women were fighting
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for political rights, voting rights and representation,
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we had songs like The March of Women
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and really just followed that protest musical,
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music, classical music by Ethel Smith
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and Sicily Hamilton.
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Yes.
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And I will mention the reason we decided
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to talk about this and do this episode is Olivia and I
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and I'm sure every woman listening to this
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really across the world and in the United States
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has felt a lot of rage recently.
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I know I've felt a lot of rage up and down
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for the last 37 years, definitely the last 10 years.
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And then a lot in the last six months
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with the news about the Cornell 7 coming out.
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So slight trigger warning there, we might talk a little bit
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about violence against women and sexual assault
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throughout this episode.
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Because that is why we are so full of rage in this moment.
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Oh, one of the many reasons for full of rage.
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Yeah.
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And again, trigger warning.
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If you are not familiar, there was a recent civil suit
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that was filed against Cornell University students,
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alleging, drugging and sexual assault
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that happened within 2024.
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And this woman is identified as a Jane Doe
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within the court documents.
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And ultimately, we came to know through the civil suit
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that there's the Cornell 7 who are seven men
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who are accused of participating in this assault
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against this woman.
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But it's actually become so much worse.
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We coined the term Cornell 7, but it really is closer to 57.
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Men who knew and were informed what
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happened to them.
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And so there are seven men who participated, 57 who knew.
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And one of the things that has come out in this response
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to it is people trying to expose who Jane Doe is.
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And if you do that, you are disgusting.
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But it has started this movement of I am Jane Doe.
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And women ultimately rallying around each other,
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really coming together to say, as long as this happens
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to one woman, it'll happen to every woman.
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And really the response from women and the reason
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that we wanted to cover this is just this is nothing new
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that has happened throughout time.
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And we continue to see this and we'll continue
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to try to process us and deal with this in whatever way.
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We've done episodes of, like, good for her movie series
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and things like that.
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But today, we really just wanted to talk about the songs
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that you can listen to when you build a deep sense of rage.
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Yeah, and rage is such an important emotion too
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that I think a lot of women, we feel like we're not allowed
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to express because we're supposed to be quiet and demure,
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especially in the tradwife movement.
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Keep your mouth shut, don't speak unless spoken to.
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And all of us have this pent up just sense of rage
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where we want to go in the woods and scrape
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at the top of our lungs, right?
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And if a woman expresses her rage, then she's
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unhinged if a man expresses his rage,
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then it's just boys being boys.
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And that's a man and they're inherently violent.
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Yeah, exactly.
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And so I think it's so important for us
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to be allowed to be fucking pissed off and to talk about it.
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And to talk about how we're going to rise up and not
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take it anymore, which is, like you said,
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sad because this shit's been going on for so long.
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You mentioned the 1910s and 20s into the '30s and '40s
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and a lot of protest and feminist music was around
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racial violence, lynching, segregation and labor rights,
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Billy Halliday, sister Rosetta Tharp,
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and then happening every day.
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So a lot of jazz and blues gospel music came out of that time.
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We should note too that the struggle with feminism,
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we've said this before, and the struggle for racial equality
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and LGBTQ rights are all intersectional.
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Intersectional.
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And so none of us are free until all of us are free.
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So a lot of this is really going to be about racial independence
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and fighting back against segregation too.
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Yeah, with like Billy Halliday, right?
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Strange fruit is such a powerful song to this day.
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I mean, we still reference this song.
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And I think that's such a testament to the power of the music
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and the way that we have identified with the words of her song
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and what you have to say and how that song can really bring you
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into the feeling that she and so many black women, black men,
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felt at the time and even in this day,
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I think you still hear people referencing that song
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through this time.
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And I think it's interesting, the first song that we talked about
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was in a classical genre.
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Then we move into jazz and blues and gospel
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and really continue to see that evolve and shape with the times,
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even into the 1950s and 1960s, where we looked at,
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civil rights movements, women liberation, independent,
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this resistance to traditional gender roles.
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So our queen sing the song all the time,
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still such a banger, a wreath of Franklin respect.
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We also have things like need of some owns, Mississippi,
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goddamn for women.
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There's so many different songs.
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You don't own me.
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I love that song.
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Yeah.
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You don't own me.
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Yeah.
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I think that's a good thing.
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That's a good thing.
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I love that my husband tells me what to do.
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But if I'm teasing him about it, I'll go,
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"Tell me what to do."
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Oh, yeah.
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And I think I can reference a lot of these songs
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into music that I listen to, but then also
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music that is used in movies.
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And it has such cultural significance
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and tells such a story of the time that it's often used
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throughout different mediums as well,
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because the ability to storytelling and resonate
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through that medium is so incredibly impactful.
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And we start to see pop and R&B come into that space.
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But as we move into the '70s, it does change as well.
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And we see it adapt with the medium.
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Yeah, absolutely.
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So second-weight feminism, reproductive freedom,
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workplace equality and sexual liberation
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were the themes of 1970 feminist rage music.
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So we hear "I Am a Woman" by Helen Reddy,
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the pill by La Reda Lynn, reclaimed the night
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by Patty Seeger.
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I will survive another powerful one.
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Yes.
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So kind of like you said, crossing genres, country,
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folk, disco, punk, rock.
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So it's kind of like everybody likes a certain type of music,
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and there's something there for you.
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There's-- you can express your rage in a variety of ways, ladies.
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Yeah.
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And we'll kind of talk about it a little bit,
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not to jump the horse here.
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But--
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You know, I think jump the horse.
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Jump the guy.
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Jump the shark.
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Jump the shark.
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Is that a good happy day's reference?
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That's good.
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Yeah, jump the shark.
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I think that a lot of '90s kids, like you
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and I think of female range anthems as punk music,
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but to really kind of go back and see
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like it's transcended every genre and every decade,
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we really see it evolve.
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And in the 1980s, women were really fighting workplace
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discrimination, economic inequality.
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Of course, we were still always facing these gender
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expectations as we do today.
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And then sexual harassment.
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We have our queen, our IP, Dolly Parton, with her 9 to 5.
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Anything for that song today is like such a fun little happy
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pop, but it really is just feminist rage.
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Why do I have to go through this?
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Like, down the summer, she works hard for the money.
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Cindy Lopper, girls just want to have fun.
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And Tracy Chapman talking about a revolution.
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And so we see those crossing country, disco,
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synth pop, funk, rock.
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And I think a lot of the time we associate country
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with the standards of today, but really started
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as a transformative genre.
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And we really get to see how that's evolved.
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And the genre's favorite.
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You know what?
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I have respect for country in that--
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like most genres of music, it's rooted in black history.
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And it's been just co-opted by white people.
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And so when we think country now, we think of a lot of just
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mature, and my beer, and my wool moon.
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And like, that's-- I don't know.
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I like the kind of pissed off country,
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and I like blue grass.
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And then you and I both like that 1990s kind of country.
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I like the chick still.
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I think it has its time and place, but I don't know.
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I think just current country and it's
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associations, which is going to like Republicanism,
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and I don't know, whiteness kind of give me the ik.
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But that's probably--
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yeah.
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You know, it's--
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You got me.
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It's co-opted.
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Like so many genres that are rooted in black history.
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It's been co-opted in stolen.
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And made into this egregious thing
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that it was never meant to be by white people.
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And marginally, and yeah, I think that it's always
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good to remember where it came from and where it started.
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And it started as a form of protest.
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And I do also like that, like, the 1980s songs that we mentioned,
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they cover so much.
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Like, 9 to 5 workplace, like, I have to work this job
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and make the household run and raise the kids.
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But then also, girls just want to have fun.
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Fun and relaxation is part of protest,
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and you need to rest.
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And just let me exist.
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Let me go out in public as a woman and have some fun
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without having to run the household 24/7.
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Like, I just want to have a little fun and relax.
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And I deserve that.
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And then talk about a revolution, right?
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It's just covering all of the--
16:56
Downs.
16:57
All of them.
16:58
1990s.
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We kind of move into third wave feminism, right, girl music,
17:03
music about sexual violence and reproductive rights
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and women's autonomy.
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Bikini Kill, Rebel Girl, came out in 1993.
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I love that song.
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I love right, girl music.
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We'll talk about that more later.
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Paul came out with Violet, Tory Amos, Me and a Gun,
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a Lannis Morissette, absolutely.
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When I'm mad at a man that you ought to know, oh my god.
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What did that--
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So hard.
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I think that this era really--
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and maybe this is just like the era that I know--
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coming from the '80s, right?
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Like you look at like Dolly Partner, Dolly Partner.
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She's a partner.
17:40
You're a Dolly Partner.
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And then Sidney Lopperd, they were very bubble-dum.
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They were very big boobs, pretty '80s.
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And then you move into the '90s.
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And you look at a Lannis Morissette who
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is not trying to sound pretty, not trying to live with
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pretty--
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Same with Pretty Kill, yeah.
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And they really resisted this traditional feminine look.
18:05
How do you expect a woman to look in dress?
18:08
Yeah, especially in hip-hop music.
18:11
None of your business by Salt and Peppa and TLC came out.
18:14
And they were wearing baggy clothes.
18:16
And Queen Latifa back in the--
18:18
So good.
18:20
And just, you know, subverting.
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I know.
18:23
Back when Gwen was actually cool, a poor one out
18:26
for feminist Gwen.
18:28
But yeah, just subverting the expectations of a woman
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is supposed to look like her dress like.
18:34
And, you know, like, I'm just--
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I'm good aware what the fuck I want.
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I'm going to do what I want.
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And just this is me expressing myself through music and art
18:42
and my outfits and rage.
18:44
Yeah.
18:45
And obviously, as Sean and I grew older,
18:48
we started to have such a better sense of what
18:52
these songs were trying to say, what this music was.
18:55
And we really started to see that within the 2000s,
18:58
as we became fully sentient beings who could understand.
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What was known if I'm still fully sentient?
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I don't know, man.
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Well, see, we're obviously going to dive deeper
19:07
into kind of the areas and the years that we know.
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But there's so much important history back then
19:13
that is just such a small glimpse of the music
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and the anthems that we've heard throughout the years.
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But as we move into the 2000s, we started
19:25
to see a real political movement against the Iraq War
19:29
and a lot of artists speaking out.
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And having real consequences, I think we even see that today.
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The same way that we see people who speak for Palestinian rights,
19:42
receiving real consequences, we saw that in the 2000s,
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as well, with the Iraq War.
19:48
And so most of us--
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And what I remember would be the chicks
19:54
and their song against President George Bush,
19:57
not ready to make nice into the--
19:58
Yeah.
19:59
And then when they said they were ashamed
20:01
that George Bush was from Texas--
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Oh, my God.
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If there is any jinsies listening to this, hopefully,
20:07
hopefully, y'all listen.
20:09
You wouldn't believe the fallout that happened here
20:12
with the chicks just for saying they were shame that George Bush
20:15
was from Texas because they were from Texas.
20:18
Do you have a thought that they shot somebody?
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Like, you know, it was insane.
20:24
And you see the political discourse that we have today.
20:28
It is very common to be against one side.
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And that discourse was not happening after 9/11, right?
20:35
We had a period where we were very patriotic.
20:38
We did not speak against what the government was doing.
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And so--
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And if you did, then you were canceled--
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Early forms of canceled, like the chicks
20:48
had to dig their career out of the dirt after that, unfortunately.
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I always liked them, but that's because I'm a feminist broad.
20:56
But yeah, you were totally right.
20:58
Like, if you spoke out and like, right
21:01
around that, you know, early 2000s against the government,
21:04
against George Bush, against anything,
21:06
then you were aligned with the terrorists.
21:08
So--
21:09
You were Osama bin Laden.
21:10
And the chicks at the time were previously called
21:13
the Dixie Chicks, which has Southern Antibelum,
21:17
the connotations, racist roots.
21:19
And so they actually changed their name right around this time
21:22
from the Dixie Chicks to the chicks.
21:25
And really learned from it and just kind of evolved
21:29
who they wanted to be.
21:30
They faced great consequences.
21:32
They were dropped from almost every single country radio
21:36
station.
21:37
And at the time, they were very country.
21:40
They were not country pop.
21:41
Their entire audience was what you would associate today
21:45
with country music.
21:47
And we really started to move to that in 2000s, post 9/11 era.
21:52
We don't love her today.
21:54
But we also had, you know, pink coming out
21:57
with dear Mr. President, which was quite controversial
22:00
at the time.
22:01
We had stupid girls by Christina--
22:04
Oh, wait.
22:05
No, that was pink.
22:06
And I hate that song.
22:07
This was also kind of a decade.
22:10
We've talked about this too in like the early 2000s, where
22:13
we were really pitting women against each other in the media.
22:17
And so it was very much-- Christina versus Brittany,
22:20
pink versus Christina, and Avril versus Brittany.
22:23
Everyone.
22:24
Yeah, you can't-- there-- you know, two women
22:27
couldn't exist at the same time without the press being like,
22:29
well, what do you think about so and so?
22:32
And so pink thought that stupid girls
22:34
was like some feminist anthem.
22:36
But she's really just tearing down other women
22:38
at the end of the day, right?
22:40
But it is interesting that I remember when that came out.
22:42
And we were like, yeah, we're going to be smart girls.
22:45
We're not stupid girls like those other girls.
22:48
Yeah.
22:48
Yeah, we're better real like--
22:50
any embracing of basic bitch culture, you were stupid.
22:56
We were trying to get there, but we--
23:00
We dropped our around.
23:01
Yeah, we were too far around.
23:03
I'm glad that we exist now where we can see those things
23:06
and break them down and be like, actually, that was anti-feminist.
23:10
Yes.
23:11
Yeah, so--
23:12
Best of intentions came too far back around.
23:15
And we had really great songs like "Fuck You" by Lillialin.
23:19
I still love that song to this day.
23:21
Yes.
23:22
Again, "When a Man Pisses Me Off," I love to play the song.
23:25
And then we had different artists like MIA and Paper Plains,
23:29
which was really around like immigration and stereotyping.
23:33
And then Miss Queen Bee Beyonce, if I were a boy, so good,
23:40
really, I would say Taylor inspired by that song deeply
23:44
and wrote the man later on.
23:47
Totally.
23:48
I know.
23:48
Oh my god.
23:49
I've been seeing it in threads lately,
23:51
this thing that's going around that was like, ladies,
23:53
if you woke up one day and you were a man,
23:57
what would you do for the day?
23:59
How would you spend the day?
24:01
And the answer was just so heartbreaking.
24:03
It was just like, walk around without my shirt on.
24:06
That's what I said, because you know my nipples
24:09
yearn to be free.
24:10
I want the sun to touch my chest so bad.
24:13
They were like, walk around shirtless, but then also just
24:15
walk around.
24:16
They were like, walk around at night, feel safe.
24:19
Just not--
24:20
be able to walk to the grocery store after sundown without fear
24:24
and keeping my head on a swivel.
24:26
And you know, so--
24:28
I tried it.
24:28
First, probably--
24:29
I'd do a little dip shake.
24:32
Oh, a helicopter for sure.
24:33
Yeah, you've got to get that in a few times.
24:36
If I were in a position of power,
24:37
I would go in and try to get every woman on my team a raise.
24:42
Just like, yeah.
24:43
If I had that, because we need that equality.
24:45
And then depending on the man that I was,
24:48
if I were like me, but my brother,
24:50
I'd start doing more white man shit.
24:52
Just like, oh, let me experience what this is like.
24:54
But with the lens of, how do I help women out?
24:58
Yeah, yeah.
24:59
I might experience this for one day, but also how can I use this
25:03
so that when we all turn back into women,
25:04
it's a little better.
25:05
Yeah.
25:06
Yeah, exactly.
25:07
Exactly.
25:08
Yeah, but mostly shirtless.
25:09
I would just do all the shirtless.
25:11
Yeah, yeah.
25:12
You've got to reap those benefits.
25:14
Breathe the nib, shake the dick, all of those things.
25:17
And so we're going to take a quick break.
25:19
And when we're going to wrap up these decades.
25:21
Before we play anymore tunes on our feminist jukebox,
25:30
we want to remind you that we have a Patreon
25:32
and that a small pledge does really help us out.
25:35
So please go to patreon.com/popculturejunkiepodcast
25:39
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25:42
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25:46
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25:49
You'll be glad you did because it helps us keep the lights
25:52
on here at PCJ.
25:55
And so we were just talking a little bit about the 2010s.
26:00
But I want to talk about really this period of time
26:03
and from 2016 to 2022, where we were really navigating
26:09
the Me Too era Black Lives Matter political polarization.
26:14
And then ultimately reproductive rights.
26:16
So I don't need to remind you of the terrible times
26:19
that we have been living in.
26:21
I'm sure if you listen to us, you do not live under a rock.
26:24
But we really saw just quite a range of music here.
26:28
I think one song immediately came to mind was Keshav's
26:31
praying.
26:32
So that was her response to Dr. Luke being kind of trapped
26:37
within this music label contract forced to be not necessarily
26:42
like sexually assaulted.
26:44
Well, she was sexually assaulted.
26:45
Yeah, she said she was sexually victim.
26:47
Yeah.
26:48
And then just stuck in this contract against her will against
26:52
her will.
26:53
Yeah.
26:53
And we've talked about that in the past as well.
26:55
In previous episodes, we have Beyonce and Kendrick Lamar's
26:58
freedom.
26:59
We appalls these nightmare.
27:00
Taylor Swift's the man.
27:02
And then Fiona apples fetch the bolt cutters.
27:05
And that continues with Beyonce and the black parade.
27:09
Taylor Swift continues those themes as mad woman.
27:12
And look, I will be the first person to say Taylor Swift probably
27:16
has the least adversity out of all of the women.
27:19
But if it can even happen to Taylor Swift, it can happen to any
27:22
of us.
27:23
And it does every single day.
27:25
And yeah, it's taking the stallion anxiety.
27:27
I love that song so much.
27:29
Just talking about like bad bitches at bad days too.
27:32
Whenever I'm having like a really anxious day, I think that I'm
27:35
like, you know what?
27:36
I'll be a bad bitch tomorrow.
27:37
It's OK.
27:38
I'm allowed to exist and have some anxiety today.
27:41
Megan the stallion said it was OK.
27:43
And you know what I love about those songs is they're really just
27:47
grappling with the world that we live in.
27:50
And they take you back to that point in time, not that we want to go
27:54
back to 2016 and me too.
27:56
But they really just capture such an era of it.
27:59
So all the way back to early histories where we talk about that,
28:03
I think that it's such a capture in time.
28:07
And we really see it spanning genres from alternative to pop to hip
28:11
hop.
28:12
Yeah.
28:13
And we don't have to talk too much about the last couple years.
28:15
But protest music and feminist music and just music that, you know,
28:20
people are talking about what matters to them and what they care about.
28:22
And feminist rage still continues.
28:24
And I love seeing like new artists come out and release songs about this.
28:29
And just like young people listening to this music too.
28:32
But Kesha, Halsey, Chapel Rhone, Kosi Wright, I love Kosi Wright.
28:38
So it continues.
28:40
Of all our struggle continues.
28:41
So does the art and the music that we create around it to express ourselves?
28:45
Yeah.
28:46
And I think, you know, we've given a lot of different examples across the genres.
28:51
But just to kind of wrap that up before we dive into our favorite female
28:56
rage anthems for when you want to call it the moon, we really see across
29:00
Shazam Blues, the theme is like, "Morning injustice and exposing violence.
29:04
Country is challenging those domestic expectations and reproductive
29:08
restrictions and political conformity."
29:11
And then folk music turning those personal experiences into collective protest.
29:16
Yes.
29:17
So I want to hear your faves.
29:20
We both chose three of our favorite feminist rage songs.
29:24
So I wanted to talk about kind of a newer song as well.
29:28
But I think it really does capture this post-dobs reaction and what it feels like to be a woman
29:34
in 2026 today.
29:37
And that's labor by Paris Paloma.
29:41
You've probably heard it on Instagram or TikTok.
29:43
It is really commonly used in a TikTok trend where it's like not all men, but every single
29:49
woman will stay for this video so I can leave my abuser.
29:53
I can, you know, get a place on my own, things like that.
29:56
But it's called "Labor, it's an indie folk song" and it's about unequal domestic and emotional
30:01
labor.
30:02
And so, you know, it's, you make me do too much labor and it's talking.
30:06
It's just so impactful.
30:09
Like whenever I listen to it, I feel like I'm in a novel every single time.
30:15
And it really just kind of takes me into this moment, like almost like a fantasy novel.
30:19
Yeah.
30:20
But that sounds and it's so beautiful.
30:22
It's so tough and intensity until she's just like mother-made in version.
30:26
You make me do all of these titles that a woman has to own.
30:29
Yeah, yeah.
30:30
It almost like has this mythology within it and the archetype of a woman and what it's
30:36
like to exist within this patriarchal system.
30:40
And so, yeah, that was one of my first female range songs.
30:43
What about yours?
30:44
Love it.
30:45
Probably my favorite female range song.
30:48
I love Riot Girl music. I love like feminist punk music.
30:53
More on women, petrol girls, bikini kill, all that.
30:56
Have a playlist that I've been adding to for the past like 10 years.
30:59
It's just protest songs and you know, just anything that is feminist or leftist.
31:07
My favorite protest song and I listen to when I want to get pissed off is Touch Me Again
31:13
by the petrol girls.
31:14
It came out in November 2016.
31:18
So right then.
31:19
And it was part of their debut studio album and it's really just a rage song.
31:25
The lyrics are Touch Me Again and I will fucking kill you.
31:29
So yeah, my body, it's my choice, it's my body, it's my fucking choice.
31:35
And the outro is literally just her screaming.
31:38
I will fucking kill you if you touch me again.
31:41
So I think that especially like with the news of the Cornell 7 and stuff like that is just
31:47
God, that's the song that's just been coming in my head like over and over again.
31:52
It's my lips, my thighs, my wrists, my mind, my hips, my neck, my tongue, my spine.
31:58
Yeah.
31:59
Touch Me Again and I will fucking kill you.
32:01
So shout out to the petrol girls.
32:04
I love you.
32:05
My next feminist anthem that I want to bring in, you're going to sense a theme.
32:09
And I think that's what I want to say.
32:13
I think that's what I want to say.
32:16
I think that's what I want to say.
32:19
I think that's what I want to say.
32:21
I think that's what I want to say.
32:23
I think that's what I want to say.
32:25
I think that's what I want to say.
32:27
I think that's what I want to say.
32:29
I think that's what I want to say.
32:31
I think that's what I want to say.
32:33
I think that's what I want to say.
32:35
I think that's what I want to say.
32:37
I think that's what I want to say.
32:39
I think that's what I want to say.
32:41
I think that's what I want to say.
32:43
I think that's what I want to say.
32:45
I think that's what I want to say.
32:47
I think that's what I want to say.
32:49
I think that's what I want to say.
32:51
I think that's what I want to say.
32:53
I think that's what I want to say.
32:55
I think that's what I want to say.
32:57
I think that's what I want to say.
32:59
I think that's what I want to say.
33:01
I think that's what I want to say.
33:03
I think that's what I want to say.
33:05
I think that's what I want to say.
33:06
I don't relate to a song even more.
33:08
It's so good.
33:10
And cheer really goes through
33:12
just like the story of
33:14
I can be free.
33:16
The government doesn't own my body.
33:18
And it's my choice.
33:20
And you know, tree rei, I think there are moments
33:22
that I'll remember for the rest of my life
33:24
protesting after Roe v Wade was overturned
33:26
is one of them.
33:28
And there's so much music
33:30
and that I can relate to back in that time.
33:32
So you're kind of in a sense of theme in the 2023 time.
33:34
Yeah.
33:36
Just responding to
33:38
losing that right as a woman.
33:40
And one of the most impactful moments in
33:42
Sean and I's life.
33:44
And hopefully it doesn't get worse.
33:46
Oh my god.
33:48
I remember where I was and I heard that Roe felt
33:50
and just like,
33:52
crying and like,
33:54
I've worked in like reproductive health for so long.
33:56
And like, we kind of saw the writing on the wall.
33:58
But when it happened,
34:00
it was still a punch to the face.
34:02
Me.
34:04
A punch to the ovary.
34:06
Which brings me to my next favorite feminist rage song.
34:08
It's called,
34:10
It's okay to punch Nazis.
34:12
It is by,
34:14
it is by the band Cheap perfume from 2019.
34:18
And oh my god,
34:20
this is a feminist punk song
34:22
with a catchy upbeat chorus
34:26
where they say,
34:28
the racist got a PR firm.
34:30
They're saying their names.
34:32
Now they're called the alt-right.
34:34
And we thought it was fucking obvious.
34:36
But we'll say it again.
34:38
It's okay to punch Nazis.
34:40
We never thought it happened.
34:42
But now look where we are.
34:44
We'd rather have a rapist than a woman in power.
34:46
When we got complacent in defending our rights,
34:48
the Nazis changed their name.
34:50
Now they're called the alt-right.
34:52
Yeah.
34:54
And they are just talking about basic human rights.
34:56
They won't stop till fascism's dead.
34:58
They're like,
35:00
"Oh,
35:00
I'm going to be punch Nazis."
35:02
Oh,
35:04
so fucking good.
35:06
And it doesn't need to be sat out loud again.
35:08
But yeah, it's okay to punch some Nazis, you guys.
35:10
I mean,
35:12
Indiana Jones punch Nazis.
35:14
Superman punch is Nazis.
35:16
I think next time you see a Nazi.
35:18
Punch him.
35:20
Right to the face.
35:22
Punch him safely.
35:24
Safely.
35:26
That's true.
35:28
If you were a woman and you were walking out in the street.
35:30
Don't feel safe.
35:32
Find someone else to punch that Nazi for you.
35:34
Add that to the to-do list.
35:36
If we became a white man for the day.
35:38
Punch Nazis in the face.
35:40
Safely.
35:42
With our shirts off.
35:44
My last song,
35:46
I think,
35:48
I listen to this song whenever I just want it,
35:50
rage, maybe drive a little fast,
35:52
maybe I've had a bad day.
35:54
Maybe I want to pump myself up to go out.
35:54
I truly love this song.
35:56
Actually, I have taken over "Ox Up Bar"
35:58
and danced on stage to the song.
36:00
So it can be a great, great, great song in happy and in rage moments.
36:08
But this is the song.
36:10
Peaches.
36:12
Boys want to be her.
36:14
I listen to a yesterday, actually.
36:18
And you know, the song is like,
36:20
the boys want to be here.
36:22
I want to be her.
36:24
And I want to be her.
36:26
I think like,
36:28
well, it's not like responding directly to like a political movement or things like that.
36:34
When I think of violence against women
36:36
and the things that happen
36:38
to women from men,
36:40
I often think it's like a deep sense of jealousy.
36:44
And you know, the constraints that they're within
36:48
are not feel so deeply to not have lasting friendships like women do
36:52
and some of that conditioning that they have been into.
36:56
And deep down, I think everyone is jealous of the girls.
37:00
Want to have as much fun as the girls.
37:02
Yeah.
37:04
I love the song.
37:06
The guitar riffant is so good.
37:08
I love that song too.
37:10
And peaches.
37:12
So amazing.
37:14
And it's definitely one of those artists that subverts
37:16
peaches identify as a woman.
37:18
I'm not sure.
37:20
I think I'm not entirely sure.
37:22
But through gender expectations or just, you know,
37:24
out the window and just dresses out of her.
37:26
They feel like that day.
37:28
It's kind of grossed over the top.
37:30
I love it.
37:32
Yeah, she is like ultimate grunge.
37:34
Hey, yeah.
37:36
And good dance music.
37:38
You know, fuck the pain away.
37:40
Also a vanger.
37:42
I just love the lion.
37:44
Final song is surprise another punk rock song.
37:48
It is from the feminist hardcore band War on Women.
37:52
The song is called Pro Life with a question mark.
37:56
And it came out in 2015.
37:58
It's like something stinks in this delivery room.
38:00
And it smells like G-O-P-U.
38:04
And it's just really about like we would rather see women
38:08
bleed out on the floor than, you know, getting abortion.
38:12
It's a pro.
38:14
That's why it's called Pro Life.
38:16
It's essentially like you see women as wounds.
38:18
You see them as just a delivery to give birth.
38:22
But then after the baby comes out, you don't give a fuck about them.
38:26
And you'll let them die.
38:28
So the song is like really angry and just incredible.
38:32
And perfectly just kind of in captures.
38:34
Like you talked about that rage of just having reproductive rights stripped away.
38:40
So definitely something good to scream in the car.
38:44
Yeah, absolutely.
38:46
And so those are some of our favorite female rage anthems.
38:50
We'd love to hear yours as well.
38:52
Before we wrap this up, I would be remissed not to mention one of the most iconic female rage moments that, you know,
39:02
we got to witness I technically wasn't born, but still is talked about to this day.
39:06
Is Shunade O'Connor's performance Marley's war on Saturday night live.
39:12
Like I mentioned, it remains one of the most controversial and iconic moments within SNL's history.
39:18
And just television as a whole.
39:20
And she staged an unscripted protest against the sexual and physical abuse within the Catholic church.
39:28
And, you know, she's an Irish woman.
39:30
And so really stood up against that.
39:32
She tore a picture of the Pope in half.
39:34
She liked to write up a camera, held up a picture of the Pope, ripped it in half.
39:38
And really her career kind of, you know, took the brunt of that too.
39:42
And I, you know, I think that's so powerful that, you know, she probably knew she was going to get backlash for that.
39:50
She's like, you know, it's fucking worth it.
39:52
It's more important to stand up for what's right than to have, you know, top 10 single and perform on SNL.
39:58
Like I'm going to say what I care about and what's right.
40:00
And I think that's feminist and punk is fuck.
40:02
Yeah. And so whether it is just streaming a song that is a form of protest or getting out there and protesting directly, supporting these artists who choose to support women's rights, rights of other individuals as well.
40:20
But really, we want to just applaud the women that we talked about today and the art that they make that allows us to relate to them so deeply.
40:30
and feel a sense of community within those songs within our anger, and if you have been impacted by the recent news,
40:39
we empathize with you, we are all Jane Doe as we mentioned and we're thinking of you, and Shauna–wjere can our listeners find you?
40:49
You can find me, Shauna Trinadad, on Instagram and Threads @shaunatrinidad, S-H-A-U-N-A-T-R-I-N-I-D-A-D.
40:59
And you can find me, Olivia, on Instagram, @livimariez, L-I-V-I-M-A-R-I-E-Z.
41:07
That is going to wrap up this episode of Female Rage Anthems.
41:13
If you want more pop culture junkie, find all of our socials, everything you need on popculturejunkie.com.
41:20
And you can join our Facebook group, we'd love to hear what your favorite Rage Anthem is.
41:26
And again, we have a Patreon, every subscription does help us, so Patreon.com/popculturejunkie
41:32
and come back next week for another hit of pop culture.
41:40
The Pop Culture Junkie podcast is produced by the Cheryl Lightfoot for the Pop Culture Entertainment Network.
41:46
So why don't you take me and you take me right now?
41:50
I need it bad, I need it bad.
41:55
I need it bad, I need it bad.