DHS Asks Olivia โRodrigo to “not Belittle” ICE,Quoting Her Lyrics
The Department of Homeland Security (DHS) has โขresponded toโฃ Olivia โRodrigo’s criticism of the agency’s use of her song “get him back!” in aโค social media video โฃpromotingโฃ self-deportation,asking the singer to “not belittle” the work of immigration and Customs Enforcement (ICE). The unusual โexchange โฃhighlights the growing tension between artists and government agencies over the use of copyrighted material in politically charged campaigns.
The โฃDHS response comes after โRodrigo publicly condemned the agency for โคutilizing her music to promote a message she โvehemently opposes. The ICE video, posted on Instagram, featured the song alongside text urging undocumented immigrants to “LEAVE NOW and self-deport using the CBP Home app,” warning of consequences for those who do not comply. Rodrigo commented on the post, stating, “Don’t ever use my songs to promote your racist, hateful propaganda,” aโ comment โthat has sinceโฃ been deleted.
This incident follows similar controversies involving other artists. Jess Glynne previously criticized the Whiteโค House for using her โsong ‘Hold My Hand’ in an ICE promotional video, and Theo Von also called out DHS โforโฃ using a clipโฃ of him out of โคcontext. Theโ agency’s repeated use of popular music, and subsequentโข backlash, raises questions about its social media strategyโค and sensitivity to artists’ political views.
The โคcurrent situation unfoldsโ as President Trump enters the first year of his second term, marked by a renewed focus on immigration enforcement.In January, โขthe Department of Homeland Security announced the end of aโ policy restrictingโ ICE agents from arresting individuals at sensitive locations like โhousesโข of worship, schools, and hospitals. Thisโ shiftโฃ in policy,โ coupled โคwiht โขtheโข agency’s aggressive social media tactics, signals a more โassertive โฃapproach to targeting undocumented immigrants in the United States.
The DHS’s appeal to Rodrigo underscores the complex relationship between artistic expression, political messaging, and the evolving landscapeโค of social media. It remains to be seen โhow โRodrigo will respond, and whether this exchange will prompt furtherโ dialog between artists and government agencies regarding the use of copyrighted material โin political campaigns.
