You Don't Own Me,' A Feminist Anthem With Civil Rights Roots, Is All About Empathy : NPR

About the Song

Lesley Gore’sYou Don’t Own Me” was far ahead of its time. Released in 1963, it was a bold and defiant statement against the societal expectations placed on women. Gore, with her youthful voice and powerful delivery, transformed a simple pop song into a feminist anthem.

The lyrics are a direct challenge to the patriarchal norms of the era. They assert independence, individuality, and the right to make one’s own choices. Gore’s refusal to conform to the role of a submissive woman was groundbreaking, and it resonated with countless listeners who felt similarly constrained.

Musically, the song is a catchy pop tune with a driving rhythm. The arrangement is simple yet effective, allowing Gore’s vocals to take center stage. This contrast between the strong lyrical content and the upbeat melody made the song even more powerful.

You Don’t Own Me” has had a lasting impact on popular culture. It has been covered by numerous artists, and its message continues to be relevant today. The song is a reminder of the progress that has been made in women’s rights, while also serving as a call to action for continued equality.

Lesley Gore: “You Don't Own Me” – (Travalanche)

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Lyrics: You Don’t Own Me

You don’t own me
I’m not just one of your many toys
You don’t own me
Don’t say I can’t go with other boysAnd don’t tell me what to do
Don’t tell me what to say
And please, when I go out with you
Don’t put me on display ’causeYou don’t own me
Don’t try to change me in any way
You don’t own me
Don’t tie me down ’cause I’d never stayI don’t tell you what to say
I don’t tell you what to do
So just let me be myself
That’s all I ask of youI’m young, and I love to be young
I’m free, and I love to be free
To live my life the way I want
To say and do whatever I pleaseAnd don’t tell me what to do
Oh, don’t tell me what to say
And please, when I go out with you
Don’t put me on displayI don’t tell you what to say
Oh, don’t tell you what to do
So just let me be myself
That’s all I ask of youI’m young, and I love to be young
I’m free and I love to be free
To live my life the way I want
To say and do whatever I please

You Missed

THE WALL AT 160 MPH — CHARLOTTE MOTOR SPEEDWAY, OCTOBER 1974 “If Marty hadn’t turned into the wall, it’s highly likely I might not be here today.” — Richard Childress Marty Robbins had two seconds to decide. Five years earlier, in 1969, he’d had his first heart attack. Doctors told him three major arteries were blocked and gave him a year to live without an experimental new procedure. He became one of the first men in history to undergo a triple bypass — and three months after surgery, he was back behind the wheel of a NASCAR stock car. He sang at the Grand Ole Opry from 11:30 to midnight. He raced at 145 mph on weekends. He had sixteen #1 country hits. He wrote “El Paso.” His doctors begged him to stop racing. He didn’t. At the Charlotte 500 on October 6, 1974, a young driver named Richard Childress — the man who would later own Dale Earnhardt’s #3 car — sat dead in his stalled vehicle, broadside across the track. Marty was coming up behind at 160 mph. He could T-bone Childress and probably kill him. Or he could turn into the concrete wall. Marty turned into the wall. He took 37 stitches across his face, a broken tailbone, broken ribs, and two black eyes. The scar between his eyes never faded — he carried it for the rest of his life. Richard Childress went on to build one of the most legendary teams in NASCAR history. What does a man owe a stranger — when he has two seconds, a wall on his right, and his own life already running on borrowed time?