The White House, on the morning of then-President Donald Trump’s historically lengthy State of the Union address, released a celebratory mashup video featuring a montage of popular culture clips, underscored by the Billboard Hot 100 No. 1 hit "Golden" by K-Pop group HUNTR/X. The 30-second clip, shared via the official @WhiteHouse social media account, appeared to be a deliberate effort to build anticipation for the President’s upcoming speech, drawing a connection between his well-documented affinity for the color gold and his recurring assertions that the nation was experiencing, or on the cusp of, a period of unprecedented prosperity.
The "Golden Age" Narrative Unveiled
The video’s accompanying caption declared, "WINNING IS BACK. America IS BACK. AND WE’RE JUST GETTING STARTED [eagle emoji]. THE GOLDEN AGE IS HERE." This framing directly foreshadowed the two-word phrase Trump would later employ in his State of the Union address, solidifying the "golden age" theme. This strategic use of pop culture and aspirational language aimed to encapsulate the administration’s optimistic outlook and highlight the President’s vision for America.
The curated clips within the montage offered a diverse cross-section of American entertainment, seemingly chosen to evoke a sense of shared cultural touchstones and national pride. The video opened with a memorable scene from the iconic sitcom Seinfeld, where character Kenny Bania enthusiastically exclaims, "That’s gold, Jerry!" This was followed by a rapid succession of scenes from films such as Dazed and Confused, The Postman (starring Kevin Costner), Bruce Almighty (featuring Jim Carrey), The Waterboy (with Adam Sandler), and Happy Gilmore, alongside excerpts from television shows like The Office, Eastbound and Down, and Modern Family. The montage concluded with a line from Adam Sandler’s Happy Gilmore: "You like that, baby? There’s more where that came from!"
"Golden" by HUNTR/X: A Chart-Topping Phenomenon
The soundtrack to this White House production was "Golden," a massive global hit from the fictional K-Pop act HUNTR/X. The song, featured in a highly streamed Netflix original film, had previously dominated the music charts, achieving an eight-week run at the No. 1 position on the Billboard Hot 100. Its success extended internationally, with the track spending 18 weeks at the top of the Billboard Global 200 and an impressive 20 weeks at No. 1 on the Billboard Global Excl. U.S. chart, setting a record for longevity.
The group HUNTR/X is a South Korean musical project, and "Golden" was co-written by EJAE (born Kim Eun-jae). The unprecedented chart success of "Golden" underscored its broad appeal, making it a seemingly fitting choice for a national address aiming for widespread resonance.
Questions of Copyright and Clearance
At the time of the video’s release, it remained unclear whether the White House had secured the necessary licensing or permission to use the copyrighted song "Golden" and the various film and television clips featured in the mashup. Spokespeople for both the White House and representatives for HUNTR/X, including EJAE, had not responded to requests for comment from Billboard regarding the usage of the music and imagery.
This situation echoes a recurring pattern of political campaigns and administrations utilizing popular music without explicit authorization. While such usage is common in campaign rallies and social media posts, it frequently leads to disputes with artists and rights holders. Obtaining clearance for copyrighted material can be a complex and time-consuming process, and sometimes unauthorized use persists due to the difficulty of enforcement.
A Pattern of Unsanctioned Music Use
The White House’s use of "Golden" is not an isolated incident but rather part of a broader communication strategy employed by the Trump administration. This strategy has consistently leaned heavily on internet memes and popular cultural references, often incorporating copyrighted material without seeking permission. This approach has previously drawn criticism from artists and their representatives.
A notable instance occurred in December when the U.S. Immigration and Customs Enforcement (ICE), an agency within the Department of Homeland Security, used Sabrina Carpenter’s song "Juno" in a promotional post. Following widespread backlash, including Carpenter herself denouncing the use as "evil and disgusting" and urging the administration not to involve her music in their "inhumane agenda," the White House eventually deleted the post without explanation.
This pattern highlights a consistent tension between the Trump administration’s communication tactics and the intellectual property rights of musicians. The list of artists who have publicly called out the Trump administration for unauthorized use of their music is extensive and includes a diverse range of prominent figures such as Olivia Rodrigo, Beyoncé, The White Stripes, Céline Dion, Rihanna, Foo Fighters, Guns N’ Roses, R.E.M., Neil Young, the estate of Prince, and The Rolling Stones, among many others.
Legal Battles and Settlements
The issue of unauthorized music use has also led to legal challenges. Earlier in the week, the estate of soul music legend Isaac Hayes reached a confidential settlement with Donald Trump, resolving a copyright lawsuit concerning the alleged unauthorized use of Hayes’ 1966 hit "Hold On, I’m Comin’" at his 2024 election rallies. While the financial terms of this settlement were not disclosed, Isaac Hayes III, the late artist’s son and estate manager, issued a statement emphasizing the resolution’s significance.
"This resolution represents more than the conclusion of a legal matter," Hayes III stated. "It reaffirms the importance of protecting intellectual property rights and copyrights, especially as they relate to legacy, ownership and the responsible use of creative works." This sentiment underscores the ongoing efforts by artists and their estates to safeguard their creative output and ensure proper attribution and compensation.
Broader Implications and Public Impact
The White House’s decision to use "Golden" and its accompanying montage raises several questions about the administration’s approach to media and public engagement. While the video aimed to project an image of national success and optimism, its reliance on potentially un-cleared material highlights a disregard for copyright laws and artistic rights that has become a hallmark of the administration’s communications strategy.
The use of such a widely recognized and popular song like "Golden" was undoubtedly intended to create a viral moment and amplify the message of a "golden age" for America. However, the potential legal ramifications and the ethical implications of using an artist’s work without permission continue to be a point of contention. The public impact of these actions extends beyond the immediate political messaging, contributing to a broader discourse on the intersection of politics, popular culture, and intellectual property rights in the digital age.
The administration’s consistent engagement with meme culture and copyrighted material suggests a deliberate strategy to connect with younger demographics and leverage the virality of internet trends. This approach, while effective in generating attention, also risks alienating artists and creators and could lead to further legal disputes and public criticism. The ongoing debate surrounding the use of music in political contexts underscores the evolving landscape of media consumption and the challenges of navigating copyright in an era of rapid content dissemination.
