Sabrina Carpenter’s music unexpectedly became a political flashpoint when the White House used her song “Juno” in a video showcasing ICE arrests. The clip, posted across social media, juxtaposed protest footage with images of agents detaining individuals, all set to Carpenter’s viral lyric: “Bye-bye.” It was a jarring collision of pop culture and a deeply divisive issue.
The use of the song wasn’t accidental. Carpenter had recently incorporated a playful “arrest” gag into her tour, complete with pink prop handcuffs and comedic timing. This created a specific, lighthearted association with the “bye-bye” lyric, a connotation the White House seemingly attempted to exploit.
Carpenter’s response was swift and unequivocal. She condemned the video as “evil and disgusting,” firmly rejecting any association with what she called an “inhumane agenda.” Her statement resonated with a growing frustration among artists whose work is being appropriated for political messaging without consent.
The White House, however, doubled down. In a defiant response, a representative dismissed Carpenter’s concerns, stating they wouldn’t apologize for deporting individuals they labeled as “dangerous criminal illegal murderers, rapists, and pedophiles.” The statement escalated the conflict, referencing lyrics from another Carpenter song in a pointed retort.
This incident isn’t isolated. Just weeks prior, Olivia Rodrigo publicly protested the administration’s use of her song “All-American Bitch” in a Department of Homeland Security post promoting self-deportation. She demanded they cease using her music to spread “racist, hateful propaganda.”
The pattern extends beyond these two artists. Kenny Loggins recently voiced his disapproval after Trump used his song “Danger Zone” in an AI-generated video depicting the president targeting protestors. A clear trend is emerging: a growing resistance from musicians against the unauthorized use of their art for political purposes.
Government data reveals a more complex reality than the administration’s rhetoric. While Homeland Security claims to be targeting the “worst of the worst,” statistics from September showed that over a quarter of those in ICE detention – 16,523 individuals – had no criminal record. This discrepancy fuels concerns about the fairness and accuracy of the administration’s claims.
ICE has been characterized as a particularly aggressive agency under Trump, with the former president promising the “largest deportation programme of criminals in the history of America” during his campaign. This commitment to aggressive enforcement has drawn criticism and sparked widespread protests, including large-scale marches in Los Angeles that ignited national demonstrations.
The situation highlights a critical debate about the power of music, the responsibility of artists, and the ethical boundaries of political messaging. As musicians increasingly refuse to remain silent, the White House faces mounting pressure to respect artistic integrity and cease the unauthorized use of their work.
