American popular music has always been a vibrant melting pot, a collision of diverse influences, often resulting in unexpected and groundbreaking creations. From the appropriation of Black musical forms by white artists to the evolution of songs with subcultural origins into mainstream anthems, this dynamic has shaped the soundscape of the nation. The complexities of this cultural exchange were on full display at President Trump’s “Make America Great Again” victory rally, where the musical selections presented a stark contrast to the often exclusionary rhetoric of the Trump campaign and movement.
The rally featured performances by artists like Kid Rock, known for his blend of rock, rap, and country, and the Village People, whose disco hit “Y.M.C.A.” has transcended its initial association with gay culture to become a ubiquitous celebratory anthem. This juxtaposition of artists associated with different subcultures and demographics underscored the inherent contradictions at play within the MAGA movement. While the political messaging often emphasized nativism and a return to a perceived past, the musical choices hinted at a more diverse and inclusive reality, albeit one potentially stripped of its original context and meaning.
Trump’s approach to music appears to prioritize its function as a soundtrack, a sonic backdrop to evoke emotion and nostalgia, rather than engaging with the deeper meanings or artistic intentions of the selected pieces. This tendency was evident in his entrance to Lee Greenwood’s patriotic anthem “God Bless the U.S.A.” and the pre-rally playlist dominated by disco and classic rock hits, seemingly scrubbed of their historical and cultural baggage. This preference for anthemic and broadly appealing music allowed for a wider audience to connect with the rally, even if that connection was superficial and detached from the songs’ original significance.
Furthermore, the rally featured speeches from individuals like Dana White and Trump himself, who highlighted the support the former President received from non-white voters, attempting to portray the MAGA movement as multiracial. These pronouncements were juxtaposed with overtly anti-immigration rhetoric from figures like Stephen Miller and Megyn Kelly’s celebration of the abandonment of diversity, equity, and inclusion initiatives by major corporations. This simultaneous embrace and rejection of diversity highlighted the inherent contradictions within the movement, utilizing the optics of inclusion while actively promoting policies that could be perceived as exclusionary.
The inclusion of Puerto Rican rapper Anuel AA, who expressed his support for Trump despite facing backlash from his community, further complicated the narrative. His presence, followed immediately by Miller’s starkly contrasting message on border control, exemplifies the rally’s strategy of deploying diversity as a shield against accusations of exclusion. This tactic allows the movement to claim broad appeal while simultaneously pursuing policies that might disproportionately impact marginalized communities.
Ultimately, the rally presented a confusing tapestry of conflicting messages. While the stated purpose was to celebrate victory and promote a particular political vision, the musical choices and the diverse array of speakers hinted at a more complex reality. The event became a microcosm of the broader cultural struggles within American society, where notions of inclusion and exclusion are constantly being negotiated and redefined. The rally showcased a strategic use of music and representation to project an image of unity while simultaneously reinforcing divisive rhetoric, leaving the underlying tensions far from resolved. The rally, therefore, served as a stage for not only a political celebration, but also a performance of a carefully curated version of American diversity, one that ultimately serves to further the MAGA movement’s agenda.
