The White House social media team is facing backlash from pop sensation Sabrina Carpenter after featuring her song “Juno” in a video portraying law enforcement arresting individuals in what appears to be immigration operations. The Grammy-winning artist reacted strongly, condemning the video as “evil and disgusting” and urging the White House not to involve her music for what she describes as an inhumane agenda.
In a pointed message on social media platform X, Carpenter stated, “Do not ever involve me or my music to benefit your inhumane agenda.” A public relations representative for Carpenter directed further inquiries to her post, highlighting the artist’s significant concern over the video’s implications.
Interestingly, during her own concerts, Carpenter has used the concept of playful “arrests” with celebrity guests as part of her performance of “Juno,” even using props like pink fluffy handcuffs. The White House, undeterred by the backlash, responded to Carpenter’s criticism by quoting her lyrics, asserting their stance on deporting what they described as “dangerous criminal illegal murderers, rapists, and pedophiles.” Abigail Jackson, a White House spokesperson, added, “Anyone who would defend these sick monsters must be stupid, or is it slow?”
As of late Tuesday afternoon, the controversial video remains available on platforms like X and TikTok. This incident marks one of several instances where the White House has faced criticism for utilizing the work of artists without consent, often with a lighthearted approach in their content. Notably, in a previous action, the Department of Homeland Security shared a video incorporating Olivia Rodrigo’s song “All-American Bitch,” which was subsequently removed from Instagram following a copyright claim, though it persists on X.
Rodrigo herself expressed her disdain for the use of her music, stating in a now-deleted response, “Don’t ever use my songs to promote your racist, hateful propaganda.” Other artists, including Usher, Taylor Swift, Celine Dion, Bruce Springsteen, and the Foo Fighters, have similarly voiced objections in the past regarding the use of their music to promote Trump’s agenda, showing a pattern of pushback from the music industry against political appropriation.
In the face of criticism, it is hopeful that these artists’ voices may lead to a broader discussion regarding the ethical use of creative work in political contexts, fostering a more respectful relationship between artists and political entities.