Sabrina Carpenter, the renowned singer, has strongly condemned the Trump administration’s recent use of her music in a video promoting ICE arrests. The video, shared on December 1, featured Carpenter’s 2024 song “Juno,” which was used to soundtrack the footage showcasing ICE arrests. In response, Carpenter took to social media on December 2 to express her disapproval of the video and the use of her song, calling it “evil and disgusting.” The singer made it clear that she did not want her music associated with what she termed as an “inhumane agenda.”
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During her Short n’ Sweet Tour, Carpenter frequently included a playful segment where she would pretend to “arrest” someone from the audience while performing her song “Juno.” The White House’s official account posted a snippet of the video, captioned with a lyric from the track, which led Carpenter to publicly denounce the administration’s actions. Despite not granting permission for the use of her music, the singer has yet to announce any legal action against the administration for this unauthorised use.
This is not the first instance of musicians speaking out against the unauthorised use of their music by the Trump administration. Several artists, including Céline Dion, Bruce Springsteen, and Linkin Park, have voiced their objections in the past. Olivia Rodrigo, another popular singer, recently criticised the administration after her music was used in a video promoting self-deportation. The pattern of unauthorized use of music by the administration has sparked outrage among musicians who do not wish to be associated with its policies.
In the controversial video featuring Carpenter’s song, ICE agents were shown detaining undocumented immigrants, accompanied by a message urging individuals to self-deport using a specific app. Rodrigo, reacting to a similar situation with her music, expressed her dismay at her music being used to propagate what she described as racist and hateful propaganda. The tensions between artists and the administration regarding the use of music in promotional material reflect a broader clash of ideologies and values.
The response from both Carpenter and Rodrigo highlights the increasing scrutiny placed on artists regarding the use of their music in political contexts. As musicians seek to retain control over their artistic output and its associations, clashes with political entities like the Trump administration are likely to continue. The power dynamics between artists and policymakers illustrate the complexities of navigating the intersection of art, politics, and ethics in the contemporary landscape.
In light of Carpenter’s public condemnation and assertions of not wanting her music to be used for such purposes, the incident serves as a reminder of the importance of respecting artists’ rights and autonomy. As debates around intellectual property, artistic integrity, and political messaging evolve, the Trump administration’s use of Carpenter’s music without her consent raises questions about accountability and ethical considerations in the realm of music and politics.