If you've somehow missed the headlines over the past seven months, yesterday marked Election Day — one that may prove to be of the most consequential of our lifetimes. Since July, President Joe Biden dropped out of the race, Vice President Kamala Harris stepped up, former President Donald Trump survived an assassination attempt and vice presidential-elect JD Vance struggled to order donuts in Valdosta, Ga. After months of fierce campaigning, aggressive political advertisement and tense conversations with estranged relatives, it is finally time to face the music and a new administration.
In a period of such divisiveness and anxiety, it is tempting to bury one’s head beneath the sand, throw preemptive pity parties and ignore our nation’s rich history of unification and devotion to democracy. But as Harris said, “You think you just fell out of a coconut tree? You exist in the context of all in which you live and what came before you.”
So in the spirit of living within the context, I present a playlist of political anthems that address the issues of our past, present and future. For whatever mood you find yourself in today — whether celebratory or crestfallen — I hope this Cat’s Collection makes you feel a little less alone.
‘American Teenager’ by Ethel Cain (2022)
“American Teenager” by Ethel Cain captures the tumultuous nature of coming of age in a divided and perhaps perilous society. On the brink of irrevocable climate damage, continuing gun violence and general dissatisfaction, the promise of reckless teenage years falls to the wayside. Instead of scanning the classroom for your new school crush, you have to locate the potential emergency exits. Attending events such as concerts, football games or parties no longer appear as light-hearted escapades but as leaps of faith.
Cain explores this anxiety as a captivating and energetic beat plays in “American Teenager.” “Say what you want, but say it like you mean it / With your fists for once, a long cold war / With your kids at the front,” she sings. This track makes you want to roll the windows down and send your arms flying into the cool breeze, screaming at the very top of your lungs — then it makes you want to call your state representative and demand action.
‘We Didn’t Start the Fire’ by Billy Joel (1989)
In “We Didn’t Start the Fire,” Billy Joel reckons with inheriting a world of disjunction, discontent and disillusion his generation played no part in establishing. In the verses, he lists everything from Harry Truman and Marilyn Monroe to “The Catcher In The Rye” (1951), gathering controversial figures, large-scale tragedies and government screw-ups into a few quick lines, like twigs on a bonfire. “We Didn’t Start the Fire” includes 119 references to political events, obscure pop-culture allusions and more. After his rapid-fire listings, Joel avoids culpability by asserting “We didn’t start the fire / It was always burning / Since the world’s been turning.”
Joel explores how each generation grows up with new circumstances, new controversies and new challenges, ultimately passing the unfixable issues on to the next group of overwhelmed youngsters. “We didn’t start the fire / No, we didn’t light it / But we tried to fight it,” Joel sings, demonstrating how the actions of one generation become the issues of the next. As many members of Gen Z entered the voting booth for the first time this November, what fires might they have been putting out?
‘Fortunate Son’ by Creedence Clearwater Revival (1969)
In this short folk-rock anthem, Creedence Clearwater Revival reflects on the hypocrisy of American patriotism. Reacting to the injustice of the Vietnam War draft system, “Fortunate Son” comments on the discrepancies between Americans living across class divides. The track specifically calls out the preferential treatment of the sons of politicians who were able to evade service in the war. “It ain't me, it ain't me / I ain't no senator's son, son,” they sing. While the specific historical context of the song no longer persists, the message of this iconic counterculture song remains true today: “Some folks are born silver spoon in hand / Lord, don't they help themselves, no.” Decades later, “Fortunate Son” continues to resonate as a reminder of enduring inequality and the unfulfilled promises of a free nation.
‘Not Ready to Make Nice’ by The Chicks (2006)
The Chicks, formerly called the Dixie Chicks, are unapologetic champions of political advocacy, though their path to openly embracing democratic ideology has been tumultuous. In their 2003 concert in London, band member Natalie Maines publicly expressed her discontent with being from the same state as former U.S. President George W. Bush and the impending invasion of Iraq, triggering an avalanche of offended patriots forsaking their fandom, burning their CDs and even sending death threats to the singers. After a brief hiatus, the band stood 10 toes down with the release of their album “Taking the Long Way” (2006).
In the album’s third track, “Not Ready to Make Nice,” the band explores the seismic backlash of Maines’ comments in 2003 and reckons with the disconnect between their personal beliefs and the prevailing current of country music — rooted in the South, steeped in blue-blood patriotism and Republican rhetoric. “Forgive? Sounds good / Forget? I’m not sure I could,” Maines sings.
This song is half a funeral ballad and half a battle cry as it mourns the relationship The Chicks once had with the country genre while the group refuses to apologize. “I made my bed and I sleep like a baby,” Maines sings. She later adds, “I’m not ready to make nice / I’m not ready to back down.” This song serves as a reminder to stand tall and stand proud. It also set a precedent by encouraging many future female country singers, including Maren Morris and Taylor Swift, to be politically active despite potential repercussions.
‘This Is America’ by Childish Gambino (2018)
In the R&B rap track “This Is America,” Childish Gambino criticizes the oppression of Black Americans in the late 2010s, focusing on increasing gun violence as a mechanism for racial subjugation. The track begins with musings from a gospel choir, soon joined by Childish Gambino as the energy increases. The chorus begins “This is America / Don’t catch you slippin’ now,” highlighting the fragility of the American system. “This Is America” also emphasizes the unjust burden placed on Black Americans to avoid becoming victims of police brutality rather than addressing the need to eliminate such brutality within law enforcement itself. Childish Gambino continues to consider the circumstances in which Black Americans are forced to protect themselves as he raps, “Yeah, this is America (Woo, ayy) / Guns in my area (Word, my area) / I got the strap (Ayy, ayy) / I gotta carry ‘em.” This searing commentary on systemic racism remains relevant six years after the song’s release.
‘Where Is The Love?’ by the Black Eyed Peas (2003)
Another R&B track, “Where Is The Love?” by the Black Eyed Peas shares a similar perspective with Childish Gambino. In approaching violence, injustice and fear, the Black Eyed Peas package their cultural criticism into powerful lyricism and a hypnotic soulful sound. The song begins by questioning, “What’s wrong with the world, Mama?” In the same verse, the band addresses terrorism, racial discrimination and the unproductive outputs of hate, ultimately calling for a whole-scale investment in love. “Man, you gotta have love just to set it straight / Take control of your mind and meditate,” the group demands. The group continues to express dissatisfaction with the state of the world on the melodic chorus, singing, “People killin', people dyin' / Children hurt, and you hear them cryin’ / Can you practice what you preach? / And would you turn the other cheek?” While the lyrics of “Where Is the Love?” are candid and powerful, the true strength of this song lies in its performance as the synthesis of pithy rap lines and smooth crooning reflect that beauty that lies within unification.
‘Freedom (feat. Kendrick Lamar)’ by Beyoncé (2016)
As the official walkout song of Vice President Kamala Harris, I would be remiss to exclude “Freedom (feat. Kendrick Lamar)” by Beyoncé from this playlist. Beyoncé’s powerful vocals over a domineering percussion section establish an immediacy and ferocity that grabs the listener’s attention from the first line. The chorus, featured in many of Harris’ campaign advertisements, is a true rally cry. “Freedom, freedom, I can't move / Freedom, cut me loose, yeah / Freedom, freedom, where are you?” Beyoncé belts. Harris faced a steep uphill climb after President Joe Biden dropped out of the 2024 presidential race on July 21. She first had to earn the trust of the Democratic party and then the whole nation, with substantially less time than her opponent, former President Donald Trump. In this way, “Freedom (feat. Kendrick Lamar)” fits her fight perfectly as Beyoncé sings, “Hey, I’ma keep running / ‘cause a winner don’t quit on themselves.”
‘American Pie’ by Don McLean (1971)
“American Pie” by Don McLean is a staple of American music. Written in response to the turmoil of the 1960s — namely the assassinations of former President John F. Kennedy and Martin Luther King Jr. and the Vietnam War — the message of this classic folk-rock track reigns true decades later. In his documentary, “The Day the Music Died: The Story of Don McLean's American Pie” (2022), McLean went verse by verse, explaining the references, subtle nods and ultimate symbolism of his jam-packed song. Though we can’t fully unpack this nearly-nine-minute masterpiece, its political critiques and their modern relevance are worth delving into. For instance, in the fifth verse, McLean refers to “a generation lost in space,” likely alluding to the “lost generation” who came of age during World War I. While some obscure references to old TV shows and celebrities may elude younger listeners, “American Pie” remains a testament to the importance of politically engaged artistry and the longevity of a well-crafted song.
‘Better Than We Found It’ by Maren Morris (2020)
Like The Chicks, Maren Morris redefined the role of female country musicians in the genre’s politics by rebuking the deep-rooted republicanism of country music and the transphobic and racist rhetoric of large names such as Jason Aldean and Morgan Wallen.
In her track “Better Than We Found It,” Morris champions a new perspective and demands social change. Morris begins by addressing the animosity toward her advocacy as she sings, “If you don't like it, then get the hell out / That's what they yell when I open my mouth.” While the opening lines may be adversarial, most of the track is introspective as Morris examines her place in the world and her role in defining history. “When time turns this moment to dust / I just hope that I'm proud of the woman I was / When lines of tomorrow are drawn / Can I live with the side that I chose to be on?” she muses. Morris looks beyond herself on the bridge, addressing the generations to come as she sings, “God save us all / From ourselves and the hell that we've built for our kids / America, America / We're better than this.” In this stripped-down ballad, Morris implicates herself and the listener in the decision to leave the world “better than we found it.”
