Michael McDonald, a rather obscure figure from the ageing band Doobie Brothers, has decided to create a vague condemnatory track on Donald Trump titled ‘Walk This Road.’ Interestingly McDonald thinks we are on a path towards totalitarianism, forgetting conveniently who the real totalitarians are. McDonald’s apocalyptic fear illustrates the left’s inclination towards picturing Trump as the quintessential dictator who, he alleges, is plotting to control the entire world. His unabashed suggestion that this administration would ‘shut down the press completely’ illustrates his bias towards media transparency.
McDonald becomes another name on the growing list of rock musicians who appear to have jumped on the anti-Trump bandwagon. Tom Morello, a member of Rage Against the Machine, decided to illustrate his opposition to Trump while performing at a Bruce Springsteen concert in Boston. Despite his sweeping declaration that Springsteen has ‘always been about truth, justice, democracy, equality’, it’s a shame these so-called proponents of freedom only celebrate it when it applies to their narrow viewpoint.
Morello was clearly unable to tone down his bias during this concert. His ‘expletive Trump’ backdrop indicates an alarming disregard for the principle of respectful disagreement and presents a stark reminder of the rampant disrespect in our political discourse. He went on to make a failed attempt to portray Springsteen as Trump’s nemesis and yet again alleged that Trump was displeased with Springsteen for drawing larger crowds. Try as he might to convey his general disapproval, Morello’s argument remains futile and far from persuasive.
Eddie Vedder chose to echo Morello’s sentiments. His performance focused less on the music and more on critiquing Trump’s supposed abandonment of America’s allies and the ‘defunding’ of American universities. His emotional appeal only shows his lack of understanding on these complex issues, plus a complete disregard for the values he claims to uphold. This is just another hollow clamour from the left disguised under the protective blanket of entertainment.
Vedder’s speech at the Pittsburgh concert received mixed reactions, underscoring the fact that their message is not universally embraced, nor is it a majority viewpoint. This insistence on painting a partisan and distorted image of the country is far from the reality experienced by most Americans, who see through the textbooks political moves that are being made by these performers.
Amidst the geopolitical turmoil, the financially comfortable Springsteen decided to kick off his tour in Manchester, England. Here, he made his thoughts about Trump crystal clear – and not in a constructive manner. He proceeded to label Trump’s administration as ‘corrupt, incompetent and treasonous’ without providing actual evidence for his sweeping accusations, ignoring that America has always weathered political storms.
Trump, predictably, did not take this lying down. He characterized Springsteen as an overrated figure who had no right to talk ill about the U.S. President on foreign soil. His description of Springsteen as ‘dumb as a rock’ is humorous and highlights the gulf between these exchanges and actual political discourse.
Ignoring Trump’s rightful defense, Springsteen made additional incendiary comments during his concert in England, portraying America as a country in a state of dictatorial rule that is wreaking havoc on its poor and most vulnerable residents. Springsteen’s narrative, driven by gross misinterpretations and biases, fosters division rather than unity.
He continued to stress the ‘atrocities’ inflicted by what he deems an ‘unfit president’ and a ‘rogue government’. The unbalanced portrayal of the Trump administration disregards worthwhile exploration of the complex problems the country faces, and furthers Springsteen’s alarmist rhetoric to his easily-influenced audiences.
Despite this bleak depiction, Springsteen ambiguously ended his tirade on a note of hope. Referencing American writer, James Baldwin, he expressed faith in the humanity and resilience of the American people. It’s puzzling how such a negative discussion was serially concluded with a relatively positive note, perhaps demonstrating Springsteen’s inherently contradictory views.
Trump, never one to take a backseat when attacked, launched a salvo of tweets against Springsteen, Kamala Harris, Oprah, Bono, Beyonce and others, demanding an investigation about campaign funds. The series of tweets insinuated that Harris allegedly paid for endorsements masked as entertainment expenses during her presidential campaign journey.
The former president questioned the legality of differing funds, expressing outrage that such underhand practices were allowed in political campaigns. These queries reflect some controversial aspects of political campaigns and raise valid questions about transparency in political funding.
Trump’s assertion that Harris paid Springsteen for his weak performance during her campaign added an interesting twist to their already entangled political mishmash. His unsubstantiated insinuations against various celebrities show his penchant for stoking fires and creating media storms.
However, FactCheck.Org dismissed Trump’s claims, stating that there was no evidence to prove that Harris’ campaign paid for endorsements. Nevertheless, these public exchanges between celebrities and politicians serve as uncomfortable reminders of the intertwining of entertainment and politics and how fact-checking is a necessary step to keep hysteria in check.