The White House’s social media team is under fire from pop star Sabrina Carpenter for using her song “Juno” in a controversial video depicting law enforcement conducting immigration-related arrests. Carpenter did not hold back in her criticism, labeling the video “evil and disgusting” and urging the White House to refrain from leveraging her music for what she deemed an inhumane agenda.
In a strong rebuke shared on social media platform X, Carpenter stated, “Do not ever involve me or my music to benefit your inhumane agenda.” A representative for the artist has emphasized the seriousness of her concerns, further directing inquiries to her original post.
Interestingly, Carpenter has incorporated playful “arrests” into her own concerts, inviting celebrity guests and using whimsical props like pink fluffy handcuffs during her performances of “Juno.” Despite the backlash, the White House responded defiantly to Carpenter’s condemnation by quoting her lyrics while maintaining their focus on deporting individuals labeled as “dangerous criminal illegal murderers, rapists, and pedophiles.” White House spokesperson Abigail Jackson added a provocative remark, suggesting that those who defend such individuals must be “stupid, or is it slow?”
As of late Tuesday afternoon, the contentious video remains accessible on platforms such as X and TikTok. This incident is not an isolated one, as the White House has faced prior criticism for using artists’ works without consent, often with a lighthearted tone. Noteworthy is a previous instance involving Olivia Rodrigo’s song “All-American Bitch,” which was shared by the Department of Homeland Security but later removed from Instagram due to copyright issues, although it is still available on X. Rodrigo, like Carpenter, expressed her disapproval, stating in a now-deleted message, “Don’t ever use my songs to promote your racist, hateful propaganda.”
The pattern of pushback from the music industry against perceived political appropriation includes other prominent artists such as Usher, Taylor Swift, Celine Dion, Bruce Springsteen, and the Foo Fighters, who have all voiced their objections in response to the former administration’s agendas.
This ongoing dialogue raises significant ethical questions about the use of creative works in political messaging and highlights the need for a more respectful relationship between artists and political entities. The hope remains that these discussions will promote greater consideration of artists’ rights and the implications of their work in political spheres.