Last year, a lot of indie-music fans—including myself—got someone else’s packing list stuck in their head. I’d walk around muttering “Milk thistle, calcium, high-rise, boot cut / Advil, black jeans, blue jeans”—lyrics hissed out by the art-punk legend Kim Gordon on a song called “Bye Bye.” The track led off her album The Collective, one of the most acclaimed releases of 2024. Over hard hip-hop beats and snarling guitar distortion, Gordon stammered about daily banalities, reframing modern life as a psychological war zone.

Now the 72-year-old co-founder of Sonic Youth has released a new version of the song, called “Bye Bye 25.” The music is largely the same, but the lyrics are new, and they start like this:

These are among the terms that the Trump administration has tried to minimize from public life. PEN America has assembled a list of at least 350 phrases that federal authorities have, this year, scrubbed from government websites and materials (including school curricula), flagged as necessitating extra review in official documents and proposals, or discouraged the use of among staffers. The attention paid to these words reflects Trump’s crusade against diversity, equity, and inclusion, as well as his team’s stances on policy issues such as energy and vaccines. Gordon picked some of these words to rework “Bye Bye”—making her, somewhat curiously, one of the few established musicians to release music directly inspired by Trump’s second term.

For all the chaos and consternation caused by the president this year, the entertainment world’s response has been relatively muted. Bruce Springsteen, that liberal stalwart, kicked off his tour with an anti-Trump sermon; stars such as Doechii and Lady Gaga have made awards-show speeches in support of immigrants, trans people, and protesters. But outright protest music responding to recent events has been rare. “I think people are kind of mostly just still stunned and don’t know what to do,” Gordon told me in a video chat earlier this week.

The memory of what happened the last time around might be contributing to the hesitation. Trump’s rise to power in 2016 spurred a quick response from popular culture, resulting in diss tracks (Nipsey Hussle and YG’s “FDT”) and provocations from luminaries (remember Madonna wanting to explode the White House?). The indie-rock world united for a compilation called Our First 100 Days: one track released for each of Trump’s first 100 days in office. But today, many of those efforts feel like either artifacts of a bygone movement—the pink-hatted #Resistance—or simply inconsequential. When I spoke with Gordon, she said, with a laugh, that she had no memory of contributing to the Our First 100 Days project.

The new version of “Bye Bye” caught my attention because it’s deadpan funny, and because it avoids some of the pitfalls that await many anti-Trump protest efforts. The president and many of his supporters seem to use liberal outrage as fuel, which means strident criticism has a way of backfiring. Steve Bannon’s stated strategy to “flood the zone with shit”—to stoke multiple incendiary media narratives every day—can make knowing what to protest first difficult. The firing of human-rights workers? The extrajudicial deportations? The dehumanization of trans people? The bid to turn Gaza into a resort? How do you pick?

Gordon’s song cuts across topic areas by highlighting the dark absurdity of an ascendant political tactic: controlling policy by controlling language. It also doesn’t sloganeer; instead, it presents a patently ridiculous jumble of terms for listeners to reflect on. (Theoretically, a MAGA loyalist might even enjoy the sound of diversity-related jargon becoming a heavy-metal hit list). “I wanted to have some really mundane, weird words in there like allergy or measles or tile drainage,” she told me. “It’s unrealistic to think they could actually ban these words, because everyone uses them every day. But I think if they had their ultimate fantasy, maybe.”

Gordon and her former band, Sonic Youth, emanate the kind of inscrutable hauteur that might seem at odds with outright protest. But this is not her first such effort in this vein. Sonic Youth arose out of the punk-rock underground of the 1980s that was boiling with outrage against Ronald Reagan. In 1992, their song “Youth Against Fascism” featured Thurston Moore—the band’s other singer, and Gordon’s now-ex-husband—sneering, “Yeah, the president sucks / He’s a war pig fuck.” That same year, the Gordon-led “Swimsuit Issue” skewered male chauvinism, a topic she returned to with the hilarious “I’m a Man” on The Collective.

Talking with her, I remembered that though Gordon is often associated with Gen X disaffection, she’s really a Baby Boomer who came of age attending Vietnam War protests and listening to folk music. The video for “Bye Bye 25” splices images from the recent anti-ICE protests in Los Angeles with shots of her holding cue cards in the style of Bob Dylan’s “Subterranean Homesick Blues” video. She told me her favorite protest song is Neil Young’s “Ohio,” which decried the state violence at Kent State University in 1970. Young, she suspected, didn’t intend to write an out-and-out rallying cry. “Those lyrics were describing a time,” she said. “That’s what I hope I’m doing with my music and my lyrics—really describing what’s going on.”