In a heartfelt letter to fans, Carly Simon has revealed she was diagnosed with Parkinson’s disease.
“So many people have written to me, kindly wondering about my relative silence, asking how I am and what I have been doing,” the 83-year-old Rock & Roll Hall of Fame inductee wrote. “The truth is, I’ve been learning how to live with Parkinson’s disease.”
She added: “It has taken me some time to understand the diagnosis, to adjust to it, and to decide how much I wanted to say about it publicly. Parkinson’s is different for everyone, and it can be unpredictable. Some days I’m so tired I can’t get the day moving at all. On others, it gives me a little more room to move, think, work, and feel like myself.”
Simon also shared that she was recently treated for basal cell carcinoma on her face, which removed the cancer. “I have always been more critical of my appearance than anyone else could possibly imagine (check out the irony of having written ‘You’re So Vain’),” she wrote, “and this gave my inner critic quite a lot of new material.”
While Simon acknowledged that these events caused her to withdraw from the public eye (“If a person is allowed to hibernate during both winter and summer, then I have become an all-season bear”), it also resulted in her upcoming album Comes in Waves, which she announced last month. “There were melodies, verses, and ideas written down and tucked away for some unknown future when I would have the time and attention to finish them,” she said. “Apparently, that future is now.”
Comes in Waves, out Aug. 14, marks Simon’s first new album in nearly 20 years, following 2009’s Never Been Gone. The new record was recorded at her longtime home in Martha’s Vineyard and produced by her collaborator Paul Samwell-Smith. Her children, Ben and Sally Taylor, are featured on the album, while Sally created the cover art. The lead single, “Howl,” is out now.
In 2022, Simon was inducted into the Rock & Roll Hall of Fame, 26 years after becoming eligible. “There’s that first thought of, ‘I don’t believe it. It must be the House of Pancakes I just got into,’” she told Rolling Stone at the time. Truly, I was dumbfounded. I thought they must be mistaken.”
Read Simon’s full statement below.
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So many people have written to me, kindly wondering about my relative silence, asking how I am and what I have been doing. The truth is, I’ve been learning how to live with Parkinson’s disease.
It has taken me some time to understand the diagnosis, to adjust to it, and to decide how much I wanted to say about it publicly. Parkinson’s is different for everyone, and it can be unpredictable. Some days I’m so tired I can’t get the day moving at all. On others, it gives me a little more room to move, think, work, and feel like myself.
The problems began with arthritis in both knees and one hip. I eventually had all three joints replaced, out with the old and in with delicate bouquets of metal and plastic. After three replacement surgeries, I assumed my difficulty walking was simply an unfortunate and rather ironic part of the recovery process.
But my mobility continued to worsen. I had trouble standing up from low chairs and deep couches without someone offering me an arm. Overstuffed furniture became my enemy. Once seated, I could feel as though I had been swallowed by the chair and might remain there permanently, like a guest who had badly overstayed her welcome.
Eventually, there were periods when I could not walk without considerable help. My family and I knew that something more was going on. After an extensive evaluation at the Mayo Clinic, I was diagnosed with Parkinson’s.
I began treatment, including taking medication to help with stiffness and other symptoms. There is no tidy or predictable schedule to the illness. It does not consult my calendar before deciding what kind of day I am going to have.
Parkinson’s is usually associated with movement, tremors, and balance, but it can affect much more than the body. It can bring anxiety, depression, exhaustion, and apathy. The apathy is particularly strange. You can find yourself lying there like a starfish drying in the sun, arms pointing in all directions, while nothing inside is telling you to get up, read, watch, write, sing, call someone, or do much of anything at all.
That has been one of the hardest things to explain. It is not simply sadness or laziness. It is as though the part of the brain that sends out invitations to participate in life has temporarily misplaced the guest list.
During this same period, I was also treated for basal cell carcinoma on my face. The cancer was removed, but the surgery affected my appearance and made me more self-conscious about being seen in public. I have always been more critical of my appearance than anyone else could possibly imagine (check out the irony of having written “You’re So Vain.”), and this gave my inner critic quite a lot of new material.
Between my mobility issues, the Parkinson’s diagnosis, the surgery, and the emotional effects of it all, withdrawing from public view was the most palatable reaction. If a person is allowed to hibernate during both winter and summer, then I have become an all-season bear.
But I have not stopped living, and I have not stopped working.
In the middle of all this, I began recording a new album, Comes in Waves. That still feels mysterious to me. Music has always known when to arrive. It has rescued me more times that I can count. It is like a cat or dog that quietly appears beside you when it senses you are not quite yourself.
The album includes songs and fragments of songs that had been waiting for me, some for years. There were melodies, verses, and ideas written down and tucked away for some unknown future when I would have the time and attention to finish them.
Apparently, that future is now.
Working on the music gave shape to days that did not always have much shape. It gave me somewhere to go without having to leave the room. It reminded me that illness can change your life without becoming the whole of your life.
I do not consider Parkinson’s a gift or a blessing. It is neither. It is difficult, frustrating, and sometimes frightening. I am still learning how to live with it and how to accept it without feeling that I have surrendered something essential.
I am still writing, singing, imagining, laughing, worrying, remembering, and occasionally getting trapped in an overstuffed chair.
I am deeply grateful to my children, my family, my friends, my caregivers, and the medical professionals who have helped me through this. Their love and patience have carried me through days when my own reserves were not enough.
I wanted to share this now because so many people have reached out with genuine concern. I am touched by that concern, even when I have not known how to respond.
These days I move more slowly, I lean on others more than I once did, and I have learned to accept that every day will look a little different. But I am still very much here.












Those small opportunities became part of the festival’s identity: a place where established acts and future stars could exist side by side. That philosophy remains central to the festival’s return. While Warped Tour’s biggest names will draw crowds, Lyman believes the real magic has always happened away from the main stages.

Taylor Swift and Bad Bunny in a split image
Taylor Swift and Bad Bunny Dealt With Trump Quietly. It’s a Smart Move
Taylor Swift and Bad Bunny are both major superstars — and they’ve shared some parallels in their careers and discographies for several years. Now, they’re even using the same playbook to deal with taunts and baiting from Donald Trump and the White House’s social media teams.
Since Trump took office during his second term, he and his administration have been using social media as part of their communication strategy. The propaganda-like, rage-bait-style clips often lean into internet culture and use popular music to make light of Trump’s most egregious actions, like his immigration policy and war-hungry foreign policy.
Olivia Rodrigo, Katy Perry, Ariana Grande, and Noah Kahan are just some of the artists who have had their music used in these videos without their permission — and vehemently spoken out against these actions and against the president. In the past couple of weeks, the Trump administration seems to have wanted to provoke a response from two of the world’s biggest superstars: Bad Bunny and Swift.
On July 30, the official White House TikTok used “La Mudanza” for a particularly tone-deaf video about immigration that celebrated the number of deportations under Trump. A week later, a video with text that said, “mood because it’s August and Donald Trump is your president” set to Swift’s “August” was uploaded by Team Trump, the president’s official campaign account. The caption was an overt provocation: “I’m sure Taylor Swift is going to be super excited we used her song,” it read. Days later, another clip from the same account featured an edited version of Swift’s Red album cover with text that said, “Did you know that Taylor Swift wrote a whole album about the color of the Republican Party?”
Neither musician has released a public statement denouncing the use of their music in Trump’s videos. Instead, two of the world’s biggest superstars quietly removed their songs from videos posted by official accounts linked to the Trump administration. (It’s unclear if there is a TikTok feature that allows selective sound muting on videos or if the respective teams reached out to the social media accounts directly.) The tracks are still available for other TikTok accounts to use in their videos, making their silence a pointed — and smart — approach. Both Bad Bunny and Swift seem to recognize the president and his administration’s tactics for what they are: antagonizing moves that keep the Trump conversation centered on his social media presence, rather than his actual policies and the harm they commit. Why would they add their star power to the conversation and stoke the flames when that’s exactly what the White House appears to want?
Some people argue that celebrities should wield their platform to denounce Trump at any chance if they are truly not politically aligned with his MAGA politics. But because they hold so much influence, these superstars need to be strategic about how they use it.
Benito, in particular, has been incredibly outspoken about his politics. He stood on two of the world’s biggest stages and used them to voice pro-immigration messages, denounce Trump’s policies, and highlight Puerto Rico as it struggles with the effects of U.S. imperialism. “Before I say, ‘Thank God,’ I’m going to say, ‘ICE out,’” the Puerto Rican superstar said at the 2026 Grammys. “We’re not savage. We’re not animals. We’re not aliens. We are humans and we are Americans.” Last summer, Bad Bunny’s music video for “Nuevayol” used a voice that sounds a lot like the president’s to deliver a pro-immigrant message. “I made a mistake. I want to apologize to the immigrants in America. I mean the United States. I know America is the whole continent,” the voice bellows out of a Seventies radio toward the end of the video. “I want to say that this country is nothing without the immigrants.”
Fans were convinced that Benito would speak out against the official White House TikTok account when it used one of his most political songs. But commenting on the video would only blow up the discussion for a wider audience. When Rodrigo, Perry, Grande, and Kahan made public comments, spokespeople for the White House used the opportunity to spread hateful rhetoric. “We’ll say this one last time: what’s actually barbaric, inhumane, and heinous are the criminal illegal aliens who have injured and murdered innocent American citizens,” Abigail Jackson said in a statement to Rolling Stone after Grande spoke out. It’s the antithesis of what Benito said during his Grammys speech this year: “The only thing more powerful than hate is love.”
Swift, on the other hand, has dealt with Trump and the right-wing’s instigations for years, each one crazier than the last. The TikTok videos from the last week aren’t even the first time that the administration has used the singer’s music for social media videos. Last fall, both the official White House TikTok account and Team Trump used songs from Swift’s then-newly released The Life of a Showgirl in separate videos. One plucked the lyrics “pledge allegiance to your hands, your team, your vibes” from “The Fate of Ophelia” to celebrate Trump, Vice President JD Vance, and the first and second ladies. The others boasted about Trump by using “Father Figure” and honored Melania Trump’s Patriot of the Year award with “Opalite.” As of Aug. 10, the audio is not available under all of these specific videos.
The pop superstar has not spoken publicly about these instances. But she has made her disdain for Trump clear. Over the years, Swift has criticized Trump’s autocratic leadership. On X, she wrote “we will vote you out” and endorsed Joe Biden and Kamala Harris in the 2020 and 2024 elections, respectively. In 2019, Swift told Rolling Stone, “There’s literally nothing worse than white supremacy. It’s repulsive. There should be no place for it.”
Even though she’s shared her liberal viewpoints on issues like abortion, LGBTQ+ rights, and racial inequality, Swift has still faced ridiculous claims of being MAGA-aligned and folding in right-wing dog whistles to her music — and that’s without ever naming Trump. If Swift were to make a statement about her music being used by the Trump administration, the attention-seeking president would absolutely revel in it. Getting Swift and Bad Bunny to weigh in is exactly the type of headline grabber he would love to draw attention from his remarkably unpopular presidency.