Sabrina Carpenter has vehemently condemned the use of her music by the Trump administration, igniting a firestorm of protest against a deeply unsettling political maneuver.
A recent White House video, shared across social media platforms, shockingly employed Carpenter’s hit song “Juno” as a soundtrack to footage showcasing ICE arrests. The video juxtaposed images of protests with a rapid montage of agents detaining individuals, framing the narrative with Carpenter’s lyrics: “Have you ever tried this one? Bye-bye.”
Carpenter responded swiftly and decisively, taking to social media to denounce the video as “evil and disgusting.” She made it unequivocally clear that she would not allow her art to be exploited in support of what she termed an “inhumane agenda.”
The administration’s choice of “Juno” wasn’t accidental. The song has recently gained viral traction thanks to Carpenter’s playful incorporation of it into her “Short ’n Sweet” tour, featuring a comedic “arrest” gag with pink prop handcuffs.
However, the White House’s appropriation of this lighthearted stage element for a serious and controversial purpose has drawn intense criticism. The playful context of the song stands in stark contrast to the harsh reality of immigration enforcement.
This incident is not isolated. It’s part of a disturbing pattern of the Trump administration utilizing popular music in immigration enforcement videos without obtaining permission from the artists.
Just weeks prior, Olivia Rodrigo publicly rebuked the administration for using her song “All-American Bitch” in a Department of Homeland Security post that depicted ICE officers tackling and deporting people. Rodrigo demanded they “Don’t ever use my songs to promote your racist, hateful propaganda.”
The DHS video had chillingly encouraged viewers to “LEAVE NOW and self-deport” through a government application, adding another layer of controversy to the situation.
Other artists, including Kenny Loggins, have also voiced their outrage. Loggins criticized Trump for using his song “Danger Zone” in an AI-generated video depicting the president targeting protestors with waste.
The growing resistance from musicians signals a turning point. Artists are no longer willing to remain silent while their work is co-opted to promote agendas they fundamentally oppose, demonstrating a powerful stand against the misuse of art for political purposes.
Whether the White House will remove the video featuring Carpenter’s song remains to be seen, but the message from the music community is resounding: their art will not be weaponized.
