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.



Movie Review: Mark Wahlberg and Halle Berry Lead a Middling Spy Comedy in ‘The Union’

 Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)
Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)
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Movie Review: Mark Wahlberg and Halle Berry Lead a Middling Spy Comedy in ‘The Union’

 Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)
Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)

“The Union,” an action comedy with Mark Wahlberg and Halle Berry, should have been more fun. Or more exciting. It certainly had a lot working in its favor, including big stars and a budget for globetrotting. But it’s lacking a certain charm that could help it be something more than the Netflix movie playing in the background.

“The Union,” streaming Friday, is a fairy tale — a very male one, about a middle-aged everyman (Wahlberg) whose life never quite got started and who gets recruited to be a spy out of the blue. Mike is a broke construction worker still living in his hometown of Patterson, New Jersey (yes, there are Springsteen songs) with his mother and hanging with his old friends in bars.

That’s all to say that for Mike, it is a breath of fresh air when his old high school girlfriend Roxanne (Berry), walks into the bar one evening looking like a punk-rock superhero in a leather motorcycle jacket. Glamorous and confident and never bothered by the flop of hair getting in her eyes, she has clearly found a life outside Patterson.

The problem, or a problem, I think, is that we already know what she does. Instead of putting the audience in Mike’s shoes, as the fish out of water trying to figure out why he’s woken up in a luxury suite in London after meeting his high school ex in his hometown bar, “The Union” starts on Roxanne. It begins with a kind of “Mission: Impossible”-style extraction gone wrong, in Trieste, Italy, where most of her team ends up dead. She decides that they need some working class grit to reboot.

The idea for the movie came from Stephen Levinson, Wahlberg’s longtime business partner, who together helped bring another middle-of-the-road Netflix action-comedy to life in “Spenser Confidential.” It's directed very basically by Julian Farino, a journeyman who helmed many episodes of “Entourage,” and written by Joe Barton and David Guggenheim. And there is a sort of charming fantasy about the notion that anyone could be a moderately successful international spy given the opportunity and a few weeks of training. In the movies, women get to find out they’re secret royalty and men get to find out they’re secretly great spies.

But “The Union” never quite hits its stride tonally. It’s not silly enough to be a comedy, though I think that’s what it would prefer to be. J.K. Simmons is given too little to work with as the head of this secret agency, which also employs underwritten characters played by Jackie Earle Haley, Adewale Akinnuoye-Agbaje and Alice Lee. One of the more moderately successful running jokes is that Mike’s undercover character is from Boston (get it?). A hulking English henchman even has a heart-to-heart with him about “Good Will Hunting.”

Berry and Wahlberg are fine together, with an easy rapport, but zero chemistry. This would not be problem if the movie wasn’t also trying to be a will-they-won’t-they romance between a woman who forgot her roots and a guy who needs to. I never quite bought into the idea that either of them are actually still thinking about their high school relationship and what went wrong. There’s been a lot of life in the interim to dwell on decisions you made at 17. Not everyone can be Cary Grant and Katharine Hepburn, or even Helen Hunt and Bill Paxton – but maybe in this case the story should have changed to serve its actors better.

That's a nitpick for something with much larger problems. And ultimately “The Union” suffers the fate of many high-priced streaming movies before it: There’s just not enough there — action, comedy, romance, art — to demand (or, rather, earn) your full attention.