An Anthem Each: Communities embracing songs as an act of self-determination
Kay Joseph & Mati Rilasciati | May 2026
Whether a hymn represents a country, a state, a nation, or a sports team, one thing is certain: music unites people. Songs foster a sense of belonging; since the dawn of spoken language, words have had the power to connect people, creating spaces where ‘you are welcome here’ is an unspoken certainty.
In this article, we explore prominent movements supported by marginalised communities and their respective anthems. By examining the songs chosen by and associated with these groups, we delve into the meaning they carry and how music serves as a vital tool for self-expression and emancipation. Furthermore, we look at how these anthems act as bridges to prevent ‘othering’, and provide safe spaces for those on the fringes of society.
While we would love to cover two millennia of history, we will focus on the 1970s, 80s, and 90s. For more context on this era, check out our article on 80s music, which provides an exhaustive background on the societal and music industry changes throughout those decades.
We will highlight the LGBTQ+ community, the fight for racial equality in the USA, and feminist movements in Europe. Without further ado, let’s dive in!
The LGBTQ+ Community (USA)
For the LGBTQ+ community, music has historically been more than just entertainment; it has been a lifeline. In eras where physical safe spaces were rare and often clandestine, music was a safe haven. These anthems served as a coded language for survival, celebration and the heartbeat of a movement transitioning from the shadow of the closet to the light of political activism.
70s
Following the spark ignited by the 1969 Stonewall Riots in NYC, the Queer community became more and more united against oppression, despite the profound stigma still attached to homosexuality. The community gained visibility and reached significant milestones during this decade, like the first Pride Parade in Los Angeles in 1970 and the election of Harvey Milk in San Francisco in 1977.
“I Will Survive” by Gloria Gaynor (1978) – While originally about a breakup, it was adopted as an anthem of resilience against societal oppression.
“Y.M.C.A.” by Village People (1978) – A masterpiece of camp and double entendre that brought gay subculture into the global mainstream.
“You Make Me Feel (Mighty Real)” by Sylvester (1978) – Performed by a gender-fluid icon, this track captured the pure euphoria of Queer nightlife.
80s
The 80s were less apologetic, openness was widely celebrated and music had more overt Queer themes, but the AIDS epidemic brought devastation to the community. Marginalised and discriminated against, Queer people still struggled to have their voices heard.
“I’m Coming Out” by Diana Ross (1980) – Written by Nile Rodgers after seeing drag queens dressed as Diana Ross, it became the literal theme song for the act of disclosing one’s identity.
“It’s Raining Men” by The Weather Girls (1982) – A high-energy campy song that remains a Pride Parade essential.
“Smalltown Boy” by Bronski Beat (1984) – A haunting synth-pop track about a young man fleeing homophobia in his hometown.
90s
This decade saw the rise of activism and visibility, also as a response to a spur in anti-LGBTQ+ violence. The ballroom scene, a safe haven for Queer community, was blooming and there was overall more influence of Queer culture on the mainstream.
“Vogue” by Madonna (1990) – Inspired by the Black and Latino ballroom scene in Harlem, New York, this brought vogueing and underground Queer aesthetics to the top of the charts.
“Freedom! ‘90” by George Michael (1990) – A declaration of personal and professional liberation.
“Supermodel (You Better Work)” by RuPaul (1992) – This track brought drag culture into the MTV era, paving the way for the drag explosion of the 21st century.
The Fight For Racial Equality (USA)
The fight for racial equality in America has always been accompanied by a soundtrack of resistance. Building on the Freedom Songs of the Civil Rights Movement, the latter half of the 20th century saw Black artists play with new genres – from Funk and Soul to the birth of Hip-Hop – to demand dignity and document the lived experience of systemic inequality while seeking policy changes. These songs served as a mirror to societal injustice and amplified Black Power and excellence.
70s
As the optimism of the early 60s transitioned into a grittier era of political disillusionment and urban struggle, music became more explicitly conscious and funk-driven.
“What’s Going On” by Marvin Gaye (1971) – A soulful, poignant plea for peace and understanding in a country torn apart by police brutality and the Vietnam War.
“Say It Loud – I'm Black and I'm Proud” by James Brown (1968) – While released at the tail end of the 60s, this track defined the 70s shift toward Black self-determination and the shedding of societal shame.
“The Revolution Will Not Be Televised” by Gil Scott-Heron (1971) – A foundational piece of spoken-word art that challenged the community to engage in active grassroots change rather than passive consumption.
80s
The 80s saw the emergence of Hip-Hop, providing a raw, unfiltered look at the effects of the crack epidemic, socio-economic neglect, and the intensifying War on Drugs.
“The Message” by Grandmaster Flash and the Furious Five (1982) – Shifted Hip-Hop from party music to social commentary, vividly painting the stress of inner-city poverty.
“Fight the Power” by Public Enemy (1989) – Commissioned for Spike Lee’s Do the Right Thing, this became the definitive anthem of defiance against institutionalized racism.
“Cult of Personality” by Living Colour (1988) – A rare hard-rock anthem by an all-Black band that explored how political leaders manipulate the masses.
90s
The 90s were marked by the aftermath of the 1992 Los Angeles Riots and a surge in Afrocentric pride, as well as the mainstreaming of Gangsta Rap which forced suburban America to acknowledge the realities of the streets.
“Changes” by 2Pac (1998) – A bittersweet reflection on racism, poverty, and the cyclical nature of violence that remains devastatingly relevant.
“U.N.I.T.Y.” by Queen Latifah (1993) – A powerful fusion of the feminist and racial equality movements, demanding respect for Black women both within and outside the community.
“Killing in the Name” by Rage Against the Machine (1992) – A searing protest song against white supremacy and police brutality that resonated across racial lines in the alternative rock scene.
The Feminist Movement (Europe)
After reforming legal inequalities during the nineteenth and early twentieth centuries, women in the late 60s once again took to the streets. This time, to fight for the role of women in society, it wasn’t so much a matter of winning equal rights as of achieving effective equality, including the private sphere of family, marriage, and sexuality, as well as the material and cultural liberation of women.
They also fought for abortion rights, free access to contraception, and against sexual harassment and sexist violence. The protests were mostly focused on white feminism and the oppression of upper- and middle-class women. The movement, lasting until the early 80s, would later be called ‘second wave feminism’.
70s
Throughout the entirety of Europe, women fought for reform: in 1971, in Ireland, a group of feminists travelled to Belfast on the so-called ‘Contraceptive Train’ and returned with condoms, which were then illegal. Two years later, the Council for the Status of Women was set up with the goal of gaining equality for women.
In Spain, the second wave was about the struggle for the rights of women in the context of the dictatorship they lived under, creating a feminist political orientation around building solidarity for women and assisting imprisoned political figures.
“I Am Woman” by Helen Reddy (1972) – This wasn’t just a song, but a revolution with a backing track. Helen Reddy gave the feminist anthem and much like women trying to get equal pay, radio stations didn’t want to play it.
“The Pill” by Loretta Lynn (1975) – A country song about birth control, and Loretta Lynn who had enough of men acting like contraception was a dirty word.
“Typical Girls” by The Slits (1979) – The Slits, one of the first all-female punk bands, made this song as a sarcastic takedown of every stereotype shoved down women’s throats. It didn’t just mock sexism, but slammed it right into the ground.
80s
Although the movement generally ground to a halt, in parts of Europe the fight for equal rights raged on. During what is now called ‘The Roudy Years’ – named after feminist Yvette Roudy – France banned the refusal of promotion, training or employment based on sex and put the burden of proof on the employer rather than the employee.
The law also required a written report on the measures taken over the past year to ensure gender equality in the workplace, along with objectives for the coming year.
“9 to 5” by Dolly Parton (1980) – the song captures the exhaustion, frustration and rage of women working twice as hard for half the pay and calling out workplace sexism.
“Girls Just Want to Have Fun” by Cyndi Lauper (1983) – originally written by a man, Cyndi Lauper rewrote the lyrics to turn it into a song about female independence and joy. No longer was it a song about chasing men; it became a celebration of women living life on their own terms.
“Ladies First” by Queen Latifah ft. Monie Love (1989) – not just a feminist anthem, but a declaration of black female power in a society that constantly erased and overlooked them.
90s
The 1990s ushered in the era of third-wave feminism, messier, bolder and more inclusive than the waves before it. The third wave is defined by the demand for space for intersectionality, sexual autonomy, and a broader definition of womanhood.
At the same time, feminism faced cultural backlash. The media mocked ‘angry feminists’, beauty standards got even more intense through phenomena such as heroin chic, and empowerment was increasingly packaged and sold, most famously as ‘girl power’. It was the perfect environment for female musicians to grab the mic and fight across a variety of genres.
“Just A Girl” by No Doubt – a sarcastic, biting takedown of gender expectations and the infantilisation of women in society.
“Unpretty” by TLC (1999) – speaking directly to women’s voices, the song critiques beauty standards, body image issues and the emotional violence of trying to live up to someone else’s ideal.
“Hot Topic” by Le Tigre (1999) – insists that feminism is not a solo act, but a collective movement by Black women, queers, punks and weirdos who made space for others to breathe louder. It’s as much a celebration as it is a syllabus, listing activists, artists, musicians, and writers who shaped feminist and queer thought, so that those belonging to the named communities can live freely – or at least more freely than their precursors.
