A single glance at the White House’s various social media accounts will, of course, have anyone even vaguely cognizant of what a dystopia is observing in sheer horror. Particularly as the account’s Office of Digital Strategy (a.k.a. whoever’s name is really behind some of the more bonkers posting choices) has taken to playing today’s pop hits in some decidedly appalling videos. With the effect of these songs du moment meant somehow to assure those watching that everything is all “on the level” (“everything” being the unmistakable specter of fascism taking hold of America).
But no, there are some things that even a pop song can’t make “okay” and/or distract the public from the matter at hand (because, yes, pop music does technically fall under the “bread and circuses” category—just ask Tate McRae). In fact, the White House’s social media account has found one of the few instances where the use of a pop song has the exact opposite effect of its intention: to make people feel better/forget their troubles (and the troubles of the world at large) for roughly two to three minutes.
The masses and musicians alike first really began to notice/take issue with the White House’s song selections for their posts as ICE raids and deportations ramped up in 2025. And it was around November that Olivia Rodrigo’s “all-american bitch” was used in a video designed to somehow “encourage” illegal immigrants to self-deport before ICE could “catch” them regardless.
Alas, the use of this song amongst such imagery and messaging is now but a drop in the bucket of incongruous contrasts that one might have once thought only possible to be seen in some kind of satire. Granted, a very dark satire (perhaps even darker than what Armando Iannucci would be willing to write). But no, in the present, turns out that very dark satire is just the average day-to-day in U.S. politics.
The following month, in December of ‘25, the White House saw fit to wield, of all things, Sabrina Carpenter’s “Juno” in an ICE raid-touting video wherein the lyrics, “Have you ever tried this one?”—once salacious—were repurposed as a reference not to any sexual position, but instead to the holding positions that ICE agents put immigrants in. Carpenter’s reaction was immediate: “This video is evil and disgusting. Do not ever involve me or my music to benefit your inhumane agenda.”
The White House Deputy Press Secretary, Abigail Jackson, responded to Carpenter’s statement with, “Here’s a Short n’ Sweet message for Sabrina Carpenter. We won’t apologize for deporting dangerous criminal illegal murderers, rapists, and pedophiles from our country. Anyone who would defend these sick monsters must be stupid, or is it slow?” The latter a nod to another Carpenter hit, “Manchild” (which, incidentally, happens to be the theme song of every male world leader).
This unprecedented willingness among public officials to stoke rage and sow discord has become the brand of all appointed members of the Orange Creature’s administration. “Getting down in the mud” with them is what they count on, and they do it by engaging in such grotesque, abominable behavior that to say nothing feels impossible for most people. Including the many musicians who have responded with pure contempt for their songs being used in such gross ways.
Kesha is the latest who could not stand by silently as she watched her 2011 hit, “Blow,” soundtrack images of military planes and missiles signaling some other country’s (in this case, Iran) imminent doom. Indeed, “Blow” lyrics like, “We are taking over/Get used to it, okay?” have now been summarily tainted. Thus, in response to the video, posted on TikTok, Kesha wrote,
“It’s come to my attention that The White House has used one of my songs on TikTok to incite violence and threaten war. Trying to make light of war is disgusting and inhumane. I absolutely do NOT approve of my music being used to promote violence of any kind. Love always trumps [this word now, of course, ruined] hate. Please love yourself and each other in times like this. This show of blatant disregard for human life and quite frankly this attack on all of our nervous systems is the opposite of what I stand for.”
Then, going for the jugular, Kesha concluded, “Also, don’t let this distract us from the fact that criminal predator Donald Trump appears in the Files over a million times.” And those are just the files that have actually been released.
Kesha’s maneuver of mentioning the Epstein files is a direct hit on what the purpose of this new “conflict” a.k.a. war is really supposed to do: distract. Like a pop song. For many are positing the rightful notion that the Orange One’s sudden decision to engage in a war with Iran and destabilize the Middle East is all part of his bid to create a giant smokescreen to divert the masses from trying to make the axe come down on him for his now pretty much endless list of crimes (especially related to the Epstein files). And, more to the point, crimes against humanity.
One of those crimes now includes making a full-time habit of totally ruining and perverting pop music. Hence, Kesha’s direct proclamation via Twitter (never X), “Stop using my music perverts, @WhiteHouse.” Unfortunately, it seems that when you tell a pervert not to do something, they only seem to get off on doing it all the more. So sure, maybe that’s why Taylor Swift never bothered to speak out against songs like “The Fate of Ophelia,” “Father Figure” and “Opalite” being used to also soundtrack some patently ghastly videos posted to the White House’s socials. It has nothing at all to do with her own fraught position as something of a Republican in lifestyle. A “lifestyle,” of course, that Kesha has correctly declared is the opposite of what she stands for.
