The original song, introduced by Guthrie in 1944, was ostensibly directed at Adolf Hitler and the Axis powers during World War II, yet its lyrics also took aim at what Guthrie perceived as “fascists” within the United States, denouncing racism, Jim Crow laws, and opposition to organized labor. According to Breitbart, Midler has now seized on that template and recast it for contemporary partisan warfare, turning the track into a rallying cry for resistance to Immigration and Customs Enforcement (ICE), to President Trump, and for mobilizing Democrat voters in the upcoming midterm elections.
Before the music begins, Midler delivers a theatrical preamble that frames the song as a response to an unprecedented political crisis. “You know, I’ve been around a long time,” she says in the opening narration, “but I have never lived through what we are living through now.”
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She then invokes Guthrie as a moral authority while openly acknowledging that she has weaponized his work for present-day activism. “The great Woody Guthrie wrote this song many years ago,” she continues. “I changed the words to fit our times, and I hope you’ll sing it when you’re marching. Because sometimes, people, sometimes you just gotta sing out!”
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From there, the lyrics devolve into a repetitive chant branding her political opponents as “fascists,” a term the modern left now routinely applies to conservatives, border enforcement, and anyone aligned with President Trump. The refrain hammers home the message:
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All you fascists bound to lose
All you fascists bound to lose
I said all you fascists bound to lose
You’re bound to lose, you fascists bound to lose
Midler escalates the rhetoric by casting her ideological adversaries as invaders to be repelled, promising confrontation rather than debate.
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Hey there, all you fascists
Let me put you straight
When you come for the rest of us
We’ll fight you at the gate
And you will lose,
You fascists bound to lose
The song explicitly targets ICE, echoing the left’s ongoing campaign to delegitimize basic immigration enforcement and border security.
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We’ll battle ICE together
Until they cut and run
Just like in Minneapolis
And when the midterms come
You’re bound to lose, you fascists bound to lose
Her chorus returns again and again, underscoring the song’s central theme of inevitable defeat for those she labels “fascists.”
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All you fascists bound to lose
All you fascists bound to lose
I said all you fascists bound to lose
You’re bound to lose, you fascists bound to lose
Midler then descends into coarse personal attacks on President Trump, celebrating the prospect of Democrat victories while resorting to vulgar language that has become increasingly common in celebrity political commentary.
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To hell with all the cowards
Who hide behind their masks
We’re gonna win the midterms
We’re coming for his ass
He knows it too
That bastard’s bound to lose
She further invokes the “Epstein Files” to accuse authorities of shielding “pedophiles,” suggesting a sweeping conspiracy while again framing her opponents as morally depraved.
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Trying to distract us
From the Epstein Files
You gas and beat and murder us
Protecting pedophiles
Let’s turn the screws, you pervs are bound to lose
The refrain returns yet again, reinforcing the song’s us-versus-them narrative and its blanket condemnation of political opponents.
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All you fascists bound to lose
All you fascists bound to lose
Mister all you fascists bound to lose
You’re bound to lose, you fascists bound to lose
In the final verses, Midler openly urges listeners to vote for Democrats in the midterms, casting the election as a last stand to “save this land” from supposed “fascists,” a label she never defines but clearly applies to President Trump, his administration, and his supporters.
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America get ready
The midterms are at hand
We gotta stick together folks
And vote to save this land
It’s time to choose
Those fascists ’bout to lose
All you fascists bound to lose
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All you fascists bound to lose
I said all you fascists bound to lose
You’re bound to lose, you fascists bound to lose
At a time when President Trump’s second administration is working to restore border integrity, strengthen law enforcement, and reassert American sovereignty, Midler’s remake exemplifies how Hollywood’s activist class continues to smear political opponents as “fascists” rather than engage in substantive debate, using nostalgia for Guthrie’s protest music as a vehicle for partisan agitation and coarse attacks on a sitting President.
