11.08.2016

Freedom’s Call

Inappropriate campaign music is the only good campaign music.

Illustrations by James Clapham

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Watching politicians try to humanize themselves through beloved popular music is a bit like an immovable object meeting an unstoppable force. No matter how hard the campaign tries to make them work together, they just don’t.

At best, politicians open themselves up to lyrical interpretations anathema to their message. At worst, they inadvertently end up embarrassing themselves by provoking backlashes from artists. Here are a few recent gems.

beatles

The Beatles
Here Comes the Sun

2016 Republican National Convention

Little darling, it’s been a long cold lonely winter
Little darling, it feels like years since it’s been here
Here comes the sun
Here comes the sun, and I say
It’s all right

Afterwards, the estate of George Harrison tweeted: “The unauthorized use of ‘Here Comes the Sun’ at the [convention] is offensive and against the wishes of the George Harrison estate.” Then followed up: “If it had been ‘Beware of Darkness,’ we might have approved it!”

bikini-kill

Bikini Kill
Rebel Girl

promo video for Hillary Clinton’s 2016 nomination campaign

When she talks, I hear the revolution
In her kiss, I taste the revolution!
When she walks, the revolution’s coming
In her hips, there’s revolution

When drummer, Bernie-supporter, and founding Bikini Killer Tobi Vail discovered that Clinton’s camp was using the song, she filed a copyright complaint to have it taken down, claiming she was acting on behalf of “scores of Bikini Kill fans.”

kline

Patsy Cline
Crazy

Ross Perot for his 1996 Reform Party presidential campaign

Crazy, I’m crazy for feeling so lonely
I’m crazy, crazy for feeling so blue
I knew you’d love me as long as you wanted
And then someday you’d leave me for somebody new

Perhaps Perot was attempting to make some sort of point about the Washington establishment that Admiral Stockdale’s “Gridlock!” failed to make, but given the candidate’s eccentric personality, a rather different reading ended up landing.

dole-man

Sam and Dave
Soul Man

adapted as “Dole Man” for Bob Dole’s 1996 presidential campaign

I’m a Dole man…
I’m a Dole man…

This one almost makes you feel sorry for Dole. The then seventy-three-year-old had a hard enough time making himself seem hip next to the far-younger incumbent Bill Clinton without awkwardly inserting his name into one of the best-known soul songs of all time.

rudie

The Clash
Rudie Can’t Fail

Rudy Giuliani’s run for the 2008 Republican nomination

I know that my life make you nervous
But I tell you that I can’t live in service
Like the doctor who was born for a purpose
Rudie can’t fail

On top of the shameless sacrilege it takes for any conservative to appropriate The Clash, how exactly does the man who turned whole swaths of New York City into Disneyland think it’s a good idea to use a song about the cool rebel street kids that his mayoral administration spent ten years locking up?

kerrywater

Creedence Clearwater Revival
Fortunate Son

John Kerry’s presidential campaign, 2004 

It ain’t me
It ain’t me
I ain’t no millionaire’s son

Seeming to highlight Kerry’s transformation from Vietnam Veteran Against the War to pro-war Democrat, this sixties antiwar favorite inadvertently pointed to the gap between working-class soldiers and Kerry’s blue-blooded roots.

reagan

Bruce Springsteen
Born In the U.S.A.

Ronald Reagan’s presidential campaign, 1984

Down in the shadow of the penitentiary
Out by the gas fires of the refinery
I’m ten years burning down the road
Nowhere to run ain’t got nowhere to go

Easily the best-known campaign song flub in recent American presidential history, Reagan’s people clearly missed that to Springsteen’s returning Vietnam vet, being “born in the USA” is a burden more than a point of pride.

guthrie

Woody Guthrie
This Land Is Your Land

George H. W. Bush’s presidential campaign, 1988

And on the sign it said “No Trespassing.”
But on the other side it didn’t say nothing,
That side was made for you and me.

The arch-conservative Bush the First uses a song about the evils of private property written by a lifelong communist. What more can be said here?