Artists Who Object to Trump Using Their Songs From Celine Dion and Isaac Hayes' Estate: How It Works

Celine Dion appears at a special screening of "I Am: Celine Dion" at Alice Tully Hall in New York on June 17, 2024, in New York, left, and Republican presidential candidate former President Donald Trump speaks at the National Association of Black Journalists (NABJ) convention in Chicago on July 31, 2024. (AP Photo)
Celine Dion appears at a special screening of "I Am: Celine Dion" at Alice Tully Hall in New York on June 17, 2024, in New York, left, and Republican presidential candidate former President Donald Trump speaks at the National Association of Black Journalists (NABJ) convention in Chicago on July 31, 2024. (AP Photo)
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Artists Who Object to Trump Using Their Songs From Celine Dion and Isaac Hayes' Estate: How It Works

Celine Dion appears at a special screening of "I Am: Celine Dion" at Alice Tully Hall in New York on June 17, 2024, in New York, left, and Republican presidential candidate former President Donald Trump speaks at the National Association of Black Journalists (NABJ) convention in Chicago on July 31, 2024. (AP Photo)
Celine Dion appears at a special screening of "I Am: Celine Dion" at Alice Tully Hall in New York on June 17, 2024, in New York, left, and Republican presidential candidate former President Donald Trump speaks at the National Association of Black Journalists (NABJ) convention in Chicago on July 31, 2024. (AP Photo)

Pop powerhouses, American classics, British artists and the estates of deceased legends — many musicians have objected to Donald Trump using their songs at campaign events.
After a video of Celine Dion performing her hit “My Heart Will Go On” was broadcast at a Trump campaign rally in Bozeman, Montana last weekend, the response from her team was swift.
“In no way is this use authorized, and Celine Dion does not endorse this or any similar use,” a statement posted on social media read. "...And really, THAT song?”
Dion joins a long list of performers who've objected to Trump using their songs. Ahead of the 2020 election, that included Bruce Springsteen, Rihanna, Phil Collins, Pharrell, John Fogerty, Neil Young, Eddy Grant, Panic! at the Disco, R.E.M. and Guns N' Roses.
It also includes the estates of deceased performers, too, like Leonard Cohen, Tom Petty and Prince, as well as English acts from across the pond, like the Rolling Stones, the Beatles and Adele, The Associated Press said.
However, Trump has obtained the cosign from a few celebrity musicians, including Kid Rock and Lee Greenwood, known for his patriotic anthem, “God Bless the USA.” Also heard at Trump's rally Thursday in Asheville, North Carolina: “Y.M.C.A.” by the Village People.
Who has recently rebuked the use of their songs by the Trump campaign? Since the 2020 election, several artists have objected to the use of their music at Trump rallies. The Smiths' “Please, Please, Please Let Me Get What I Want” played at a few Trump events, including a rally in Rapid City, South Dakota last September and in January of this year at a rally in Laconia, New Hampshire. On X, the Smiths' guitarist Johnny Marr wrote, "Ahh...right...OK. I never in a million years would’ve thought this could come to pass. Consider this s—- shut right down right now.”
In 2022, David Porter, one of the songwriters behind Sam and Dave’s “Hold On, I’m Coming," tweeted “Hell to the NO!” after learning Trump used the song at an NRA rally. (In 2017, it should be pointed out, Sam Moore of Sam and Dave performed “America the Beautiful” at a pre-inauguration concert for Trump.)
Fast forward to Monday, when the son of the late soul singer Isaac Hayes, whose father co-wrote “Hold On, I’m Coming,” announced on social media that he and his family have threatened legal action against Trump “for 134 counts copyright infringement for the unauthorized use of the song ‘Hold On I’m Coming’ at campaign rallies from 2022-2024.”
Can artists legally object to their songs being used in political campaigns? Yes, however, artists rarely have full control over where, when, and how their music is played. Performing rights organizations that represent most recognizable recorded music — ASCAP and BMI — require political campaigns to obtain licenses that allow them to use large troves of songs from their vast catalogs.
That means a political campaign does not have to do individual negotiations over every song used.
If a political license is acquired, artists can object to its use, and the song is pulled from the license.
The issue, of course, is that not every campaign immediately honors those requests.
And it is important to note that these political licenses go beyond a public performance license, which allows venues to play copyrighted music.
What are some other examples of artists objecting to the use of their songs in campaigns? Continuing with “Hold On, I'm Coming”: In 2008, Moore asked former President Barack Obama, then still a candidate, to stop using the song. He didn't want it to be considered an endorsement. They complied.
After Obama was elected president, Moore performed at the Creative Coalition’s Inaugural Ball alongside Sting and Elvis Costello.
How do artists stop politicians from using their songs? They can send cease-and-desist letters, like Pharrell Williams did after his song "Happy” was played at a Trump rally in 2018. John Fogerty did the same in October 2020 over the Trump campaign's use of “Fortunate Son” by his band Creedence Clearwater Revival.
Few escalate to the point of suing, but it is not unheard of: Neil Young filed a lawsuit in August 2020 over the Trump campaign’s use of his music including “Rockin’ in the Free World." He later voluntarily dismissed the case “with prejudice," which means it cannot be brought again.
Eddy Grant sued Trump in September over the use of his 1980s hit “Electric Avenue” in a Trump campaign animated video that mocked Joe Biden.



Lily Collins Has Found ‘Emily 2.0’ in Paris 

This image released by Netflix shows Lily Collins in a scene from "Emily in Paris." (Stephanie Branchu/Netflix via AP)
This image released by Netflix shows Lily Collins in a scene from "Emily in Paris." (Stephanie Branchu/Netflix via AP)
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Lily Collins Has Found ‘Emily 2.0’ in Paris 

This image released by Netflix shows Lily Collins in a scene from "Emily in Paris." (Stephanie Branchu/Netflix via AP)
This image released by Netflix shows Lily Collins in a scene from "Emily in Paris." (Stephanie Branchu/Netflix via AP)

The new season of “Emily in Paris” will have many of the same elements as the first three: daring fashion, flirty romance and workplace drama. One thing that has changed? The lead actor’s confidence.

Lily Collins, who plays Emily Cooper, said her life has mirrored her character’s growth since the series premiered in 2020.

“Walking onto set season four, I was a different person than walking onto set season one,” Collins said in a recent interview with The Associated Press. “I’m a more well-rounded and understanding human in this space now because of the show.”

In addition to starring in the series, Collins produces it. The first season marked her first producing gig, and she’s taken on several other projects since.

“With the growth of Emily, there’s come a real growth in myself within my role as an actor, but also as a producer,” she said. “Being so collaborative with the writers and Darren (Star, series creator) and the other producers on this and having a voice on the show has really given me the confidence with other projects out there to do the same or want the same.”

The upcoming fourth season follows Emily untangling a messy love triangle, but she’s in a more stable place professionally than when we first saw her struggling to fit in at her new job in a new country. Even her French has improved as the series went on. Collins said some of her character’s self-assurance has rubbed off on her.

“I’ve grown more confident as Emily, but also with Lily. I’m asking deeper questions about the entire project, more so than I would’ve season one,” she said. “They’re not just about aesthetics anymore, it’s about the core values of the show and how to change things and how to bring new ideas to the table.”

Some of those new ideas include adapting Emily’s headline-making wardrobe with each season, a process that Collins said required two eight-hour fittings. She said they broke their own record by securing 82 looks for the fourth season.

The costuming, by designer Marylin Fitoussi, is a crucial part of the story, showing Emily’s evolution from an expat sporting looks emblazoned with the Eiffel Tower to outfits more like that of an authentic Parisian woman. But the costuming is also a crucial part of Collins’ process of stepping back into Emily’s shoes — both literally and figuratively.

“It’s the best way for me to start to feel like Emily again, but Emily 2.0,” Collins said. “We really do tell a story with clothing in this.”

Collins said at Wednesday’s premiere that the depth of Emily’s character has been a rewarding part of the process for her, especially in seeing how fans connect with Emily or are inspired by her.

“It means the world,” Collins said. “I love playing a woman who’s unapologetically herself and loves to work, and that’s a positive thing, and that she’s still struggling to find a work-life balance because I think that you’re always trying to find what works for you. So not having it together all the time is actually an OK thing, and I love playing a character that celebrates that.”

The fourth season of the show, which premieres its first half on Thursday, has been hotly anticipated among its growing fanbase since the third season was released two years ago. Netflix has yet to renew the series for a fifth season but Star, known for “Sex and the City” and “Beverly Hills, 90210,” said he thinks the audience and popularity are only growing with time.

“It’s not like it was a product of the pandemic and people not being able to travel so they liked to watch Paris on the screen. They can travel now and the show’s increased in popularity and, in fact, it encourages people to travel, which was my biggest dream of the show,” he said.

Even with his belief in the series, Star said it’s always “gratifying” when audiences respond well to the final product. As a veteran in the television world, Star knows audiences’ reception and viewership can be unpredictable.

“You just can never, ever know how the audience is going to respond and what the outcome’s going to be, so I just really get mostly attached to the process and feeling happy about the season,” he said. “I’m really happy about this season, I hope the audience loves it.”