Skip to content
Search

Latest Stories

Top Stories

Taylor Swift: 'It's basically saying don't lose hope'

Taylor Swift singing on stage
John Shearer/TAS24/Getty Images for TAS Rights Management

Daley-Harris is the author of “ Reclaiming Our Democracy: Every Citizen’s Guide to Transformational Advocacy ” and the founder of RESULTS and Civic Courage. This is part of a series focused on better understanding transformational advocacy: citizens awakening to their power.

In my last writing, I discussed how Taylor Swift’s first involvement in politics (during the 2018 midterm election in Tennessee) was prompted, in part, by her harrowing experience in a sexual assault trial. That year Swift endorsed Republican Sen. Marsha Blackburn’s opponent in Tennessee’s U.S. Senate race, Rep. Jim Cooper (D). It wasn’t an easy decision.

“I’ve been reluctant to publicly voice my political opinions,” she wrote in an Instagram post, “but due to several events in my life and in the world in the past two years, I feel very differently about that now. I always have and always will cast my vote based on which candidate will protect and fight for the human rights I believe we all deserve in this country. I believe in the fight for LGBTQ rights, and that any form of discrimination based on sexual orientation or gender is WRONG. I believe that the systemic racism we still see in this country towards people of color is terrifying, sickening and prevalent.”


In the post, Swift urged fans to register to vote — and within 24 hours nearly 65,000 people registered. A day later the number grew to 102,000. The election delivered good news for some and disappointment for others. Swift addresses the disappointment in her Netflix documentary, “Miss Americana,” which includes scenes of her writing her post-election song “ Only the Young.”

“The first verse I want to be all about like hearing the news,” she tells Joel Little, her co-writer and producer. “You know, if you were a kid who, like, loved Beto [O’Rourke] and thought that was the future of Texas or you really thought Stacy Abrams was going to win and you went door to door and you were trying to make it happen and then she still gets beat.”

The song begins:

It keeps me awake
The look on your face
The moment you heard the news
You're screaming inside
And frozen in time
You did all that you could do
The game was rigged, the ref got tricked
The wrong ones think they're right
You were outnumbered, this time

“[W]e have, what, 3 to 4 million people turning 18 … before the next [election],” she said, as she addresses being outnumbered. “[I]t’s basically saying don’t lose hope. Don’t get [discouraged].”

Then she starts writing the chorus.

“I have this idea. Called ‘Only the Young.’ [Swift sings] But only the young, Only the young, Only the young, Only the young can run.”

“That’s basically saying ‘resist.’ If you can, just shift the power in your direction by being bold enough, then it won’t be like this forever. Run, break away from this. Like you can run from fascism.”

I believe she’s also saying run away from the powerlessness, run away from the feelings of hopelessness. You can do this! We can do this.

Last time, I wrote that the youth vote in the 2022 midterm elections was the second highest on record. 2018, the year Swift got involved publicly, was the highest youth turnout in a midterm election with 28 percent of youth voting.

Andrea Hailey, the CEO of the nonpartisan Vote.org, said that about 80 percent of the people who Vote.org registers actually cast ballots in the next election.

Maybe it’s time to release our inner Taylor Swift and help the young people in our lives see the importance of registering to vote and then actually voting. It might be a small first step, but it’s an important step toward having citizens awaken to their power.

Read More

Iguanas on the Tombstones: A Poet's Metaphor for Colonialism​
Photo illustration by Yunuen Bonaparte for palabra

Iguanas on the Tombstones: A Poet's Metaphor for Colonialism​

Iguanas may seem like an unconventional subject for verse. Yet their ubiquitous presence caught the attention of Puerto Rican poet Martín Espada when he visited a historic cemetery in Old San Juan, the burial place of pro-independence voices from political leader Pedro Albizu Campos to poet and political activist José de Diego.

“It was quite a sight to witness these iguanas sunning themselves on a wall of that cemetery, or slithering from one tomb to the next, or squatting on the tomb of Albizu Campos, or staring up at the bust of José de Diego, with a total lack of comprehension, being iguanas,” Espada told palabra from his home in the western Massachusetts town of Shelburne Falls.

Keep ReadingShow less
Does One Battle After Another Speak to Latino Resistance?

Leonardo DiCaprio, Benicio del Toro, Chase Infiniti, and Paul Thomas Anderson pose during the fan event for the movie 'One Battle After Another' at Plaza Toreo Parque Central on September 18, 2025 in Naucalpan de Juarez, Mexico.

(Photo by Eloisa Sanchez/Getty Images)

Does One Battle After Another Speak to Latino Resistance?

After decades of work, Angeleno director P.T. Anderson has scored his highest-grossing film with his recent One Battle After Another. Having opened on the weekend of September 26, the film follows the fanatical, even surrealistic, journey of washed-up revolutionary Bob Ferguson (Leonardo DiCaprio), who lives in hiding with his teenage daughter, Willa (Chase Infiniti), some fifteen years after his militant group, French 75, went underground. When their nemesis Colonel Lockjaw (Sean Penn) resurfaces, Bob and Wila again find themselves running from the law. When Wila goes AWOL, her karate teacher, Sensei Sergio St. Carlos (Benicio del Toro), is enlisted to help Bob find his daughter. Although ambitious, edgy, and fun, the political message of the hit film is generally muddled. The immensely talented director did not make a film matching the Leftist rigor of, say, Battleship Potemkin. Nor can the film be grouped among a veritable cavalcade of fictional and non-fictional films produced during the last twenty years that deal with immigrant issues along the U.S.-Mexico Border. Sleep Dealer, El Norte, and Who is Dayani Cristal? are but a few of the stronger offerings of a genre of filmmaking that, for both good and bad, may constitute a true cinematic cottage industry.

Nevertheless, the film leans heavily into Latino culture in terms of themes, setting, and characters. Filmed largely in the U.S.’s Bordertown par excellence—El Paso, Texas—we meet the martial arts teacher Sergio, who describes his work helping migrants cross the border as a “Latino Harriet Tubman situation.” We learn that the fugitive revolutionary, Bob, is known by several aliases, including “The Gringo Coyote.” His savior, Sensei Sergio, explains to him outrightly that he’s “a bad hombre”—cheekily invoking the hurtful bon mots used by then-candidate Donald Trump in a 2016 debate with Hilary Clinton. The epithet is repeated later on in the film when Bob, under police surveillance in the hospital, is tipped off to an exit route by a member of the French 75 disguised as a nurse: “Are you diabetic? You’re a bad hombre, Bob. You know, if you’re a bad hombre, you make sure you take your insulin on a daily basis, right?” All this, plus the fact that the film’s denouement begins with a raid on a Mexican Restaurant in Northern California.

Keep ReadingShow less
​Jimmy Kimmel onstage during the 67th GRAMMY Awards

Jimmy Kimmel onstage during the 67th GRAMMY Awards on February 01, 2025, in Los Angeles, California

Getty Images, Johnny Nunez

Why the Fight Over Jimmy Kimmel Matters for Us All

There are moments in a nation’s cultural life that feel, at first, like passing storms—brief, noisy, and soon forgotten. But every so often, what begins as a squall reveals itself as a warning: a sign that something far bigger is at stake. The initial cancellation of Jimmy Kimmel by Disney, along with the coordinated blackout from network affiliates like Nexstar and Sinclair, is one of those moments. It’s not merely another skirmish in the endless culture wars. Actually, it is a test of whether we, as a society, can distinguish between the discomfort of being challenged and the danger of being silenced.

The irony is rich, almost to the point of being absurd. Here is a late-night comedian, a man whose job is to puncture the pompous and needle the powerful, finding himself at the center of a controversy. A controversy bigger than anything he’d ever lampooned. Satire that, depending on your perspective, was either too pointed or simply pointed in the wrong direction. Yet, that was not the ostensible reason.

Keep ReadingShow less
Bad Bunny preforming on stage alongside two other people.

Bad Bunny performs live during "No Me Quiero Ir De Aquí; Una Más" Residencia at Coliseo de Puerto Rico José Miguel Agrelot on September 20, 2025 in San Juan, Puerto Rico

Getty Images, Gladys Vega

From Woodstock to Super Bowl: Bad Bunny and the Legacy of Musical Protest

As Bad Bunny prepares to take the Super Bowl stage in February 2026—and grassroots rallies in his honor unfold across U.S. cities this October—we are witnessing a cultural moment that echoes the artist-led protests of the 1960s and 70s. His decision to exclude U.S. tour dates over fears of ICE raids is generating considerable anger amongst his following, as well as support from MAGA supporters. The Trump administration views his lyrics and his fashion as threats. As the story unfolds, it is increasingly becoming a political narrative rather than just entertainment news.

Music has long been a part of the American political scene. In 1969, Crosby, Stills, Nash & Young released “Ohio,” a response to the Kent State shootings that galvanized antiwar sentiment.

Keep ReadingShow less