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The Birth of Campaign Music in 1840
Folk music critic Irwin Silber wrote that the song “firmly established the power of singing as a campaign device” in the United States, and that this and the other songs of 1840 represent a “Great Divide” in the development of American campaign music. The North American Review at the time even remarked that the song was, “in the political canvas of 1840 what the Marseillaise was to the French Revolution. It sang Harrison into the presidency.”
The election of 1840, between Harrison and Martin Van Buren, took Presidential campaigning to a whole new level with parades, floats, banners, concerts and of course, the song-turned-slogan, Tippecanoe and Tyler Too referencing the site of Harrison’s victorious 1811 battle between his Indiana militia and Native Americans, and his vice president, John Tyler. Originally titled Tip and Ty, the tune was written by an Ohio jeweler, debuted at a New York Whig Party rally and was so popular that it quickly spread throughout the country.
The song’s appeal has been compared to that of a great pop novelty song, as against the relative seriousness of most campaign songs. An estimated 30,000 people attended the rally. It’s wild to think that a catchy tune about a decades-old battle could literally sing someone into the White House, but that’s exactly what happened with William Henry Harrison.
“Harding, You’re the Man for Us” – The Radio Revolution
It was Ronald Reagan who started the trend of using pop songs. Ronald Reagan really kicked off the era of walk-on, walk-off music, using popular songs of the day, so Reagan, when he’s running for reelection in 1984, uses Lee Greenwood’s “God Bless The USA.” But long before Reagan, Billy Murray’s anthem for Warren G. Harding marked a crucial turning point in campaign music.
Billy Murray’s “Harding, You’re the Man for Us” represented something revolutionary for 1920. The song capitalized on the dawn of mass media broadcasting, becoming one of the first presidential campaign songs to reach voters through radio waves rather than just live performances at rallies. This wasn’t just background music anymore – it was targeted messaging beamed directly into American homes.
The track helped establish Harding’s image as the “return to normalcy” candidate after World War I’s chaos. Think about it – suddenly politicians could literally get their message inside people’s living rooms through catchy melodies. That’s power.
“We’ll Win With Dewey” – The Strategy That Failed
The Republican National Committee’s “We’ll Win With Dewey” perfectly demonstrates how even the catchiest campaign song can’t overcome electoral reality. In a new study, Gordon and his colleagues report that TV ads do influence voter turnout and choices—and that the tone of the ad makes a difference. Based on data from the 2000 and 2004 presidential elections, the team found that positive ads encouraged more people to show up on Election Day, while negative ads slightly suppressed turnout. And while both types of commercials affected whom people supported, the negative ones were more effective at swaying voters’ decisions.
Dewey’s song was upbeat, optimistic, and professionally produced. It had all the ingredients for success – except for one tiny detail: the actual election results. When Truman held up that famous newspaper declaring “Dewey Defeats Truman,” that campaign song suddenly sounded pretty hollow.
The track showed early understanding of modern election strategy, using music to create emotional connections with voters. Yet it also proved that songs alone can’t manufacture victories when the fundamentals aren’t there.
“Hello Lyndon!” – Television Meets Campaign Music
While not the first popular song rewritten for the purposes of a political campaign, “Hello, Lyndon” represents the first time politics and pop culture, as it’s understood today, collide. Johnson used the popularity of the musical “Hello, Dolly!” to boost his political appeal and, in turn, Louis Armstrong’s original rendition shot to the top of charts.
The Democratic Campaign Choir’s adaptation brilliantly transformed Broadway’s biggest hit into political gold. LBJ needed to humanize himself against Barry Goldwater’s conservative challenge, and borrowing from popular culture was genius. It made the president seem relatable, even fun.
This was strategic cultural hijacking at its finest. Johnson’s team recognized that voters already loved the melody, so why not attach their candidate to those positive feelings? It worked beautifully, helping secure one of the largest electoral victories in American history.
“Nixon’s the One” – The Silent Majority’s Anthem
One of the last examples we had of a candidate’s name being used in an original song – Connie Francis’ “Nixon’s The One,” in 1968. The Nixon Campaign’s official song became the soundtrack for one of American politics’ greatest comebacks.
After losing to Kennedy in 1960 and suffering defeat in California’s gubernatorial race in 1962, Nixon seemed politically dead. But “Nixon’s the One” helped rebrand him as the steady hand America needed during the turbulent 1960s. The song appealed directly to what Nixon called the “silent majority” – those Americans who felt overwhelmed by social upheaval.
The track’s straightforward, no-nonsense message perfectly captured Nixon’s campaign strategy. Notable exceptions include Richard Nixon’s “Nixon’s the One” in 1968 and John McCain’s “Raisin’ McCain” in 2008. While Nixon won his election, the song did not resonate strongly with voters, and McCain’s campaign song failed to impact his race. While the song didn’t become a cultural phenomenon, it effectively reinforced Nixon’s core message to his target audience.
“Bring Us Together” – From Protest to Presidential Rhetoric
Sometimes the most powerful campaign songs aren’t official campaign songs at all. “Bring Us Together” started as grassroots protest music but ended up shaping Nixon’s post-election messaging in ways no campaign strategist could have planned.
Originally inspired by protest signs calling for national unity, the song captured something real that Americans were feeling in 1968. Nixon’s team recognized this authenticity and adopted the phrase, despite its anti-establishment roots. It’s ironic – a song born from dissent became the foundation for presidential rhetoric about healing division.
This represents the unpredictable power of music in politics. Sometimes the songs that matter most aren’t the ones campaigns commission, but the ones that emerge organically from the people’s genuine emotions.
“The Ballad of Barry Goldwater” – When Folk Artists Attack
Folk Artists United created “The Ballad of Barry Goldwater” as political warfare disguised as entertainment. This wasn’t just music – it was character assassination set to a catchy melody.
The song brutally mocked Goldwater’s conservative positions, portraying him as an extremist who would drag America backward. By using folk music’s traditional storytelling format, the artists made complex political critiques accessible to ordinary voters. They turned Goldwater into a cautionary tale.
The track helped LBJ secure liberal and centrist voters who might have been on the fence. It demonstrated how music could be weaponized not just to promote candidates, but to destroy them. Sometimes the most effective campaign songs are the ones that tear down the opposition rather than build up your own side.
“Vote for Me” – Funk Meets Political Satire
George Clinton’s Parliaments delivered “Vote for Me” as a masterclass in political funk satire. This wasn’t your typical campaign song – it was subversive commentary wrapped in an irresistible groove.
The track reflected Black political sentiment in urban centers during Nixon’s presidency, using funk’s rebellious energy to critique the political establishment. Clinton understood that music could convey political messages more powerfully than any speech, especially to communities that felt disconnected from traditional politics.
What made this song brilliant was its dual nature – you could dance to it while simultaneously absorbing its political critique. It influenced how Black artists would engage with politics through music for decades to come.
“Jimmy Carter Says Yes” – Grassroots Power
Carter’s supporters created “Jimmy Carter Says Yes” on practically no budget, yet it became one of the most effective campaign anthems of the 1970s. This low-fi track perfectly captured Carter’s outsider appeal during a time when Americans were fed up with Washington insiders.
The song’s amateur quality wasn’t a bug – it was a feature. After Watergate and Vietnam, voters craved authenticity over polish. This grassroots anthem made Carter seem like one of them, not another slick politician with a professional PR team.
The track proved that sometimes the most powerful campaign music comes from genuine enthusiasm rather than expensive production. The gap between the all-positive and all-negative scenarios was about 10 million voters. “That’s pretty big,” Gordon says. “It does suggest that negative ads might have a detrimental effect” on election participation. Carter’s positive, hopeful message resonated with voters looking for change.
“Ronnie Talk to Russia” – Post-Election Commentary
Prince’s “Ronnie Talk to Russia” wasn’t technically a campaign song, but it became essential post-election political commentary that shaped public discourse about Reagan’s Cold War policies. The Purple One understood that musicians could influence political conversations even after elections were over.
The song arrived during the height of Cold War tensions, when Reagan’s aggressive rhetoric toward the Soviet Union had many Americans worried about nuclear conflict. Prince’s track gave voice to those concerns in a way that traditional media couldn’t match.
What’s fascinating is how this non-campaign song ended up having more lasting political impact than many official campaign tracks. It showed that artists could shape political narratives independently of the campaign process.
“This Land Is Your Land” – Woody Guthrie’s Political Resurrection
Woody Guthrie’s “This Land Is Your Land” got a second life in 1984 when progressive movements supporting Walter Mondale reclaimed it as an anthem for social justice. This wasn’t just nostalgia – it was strategic cultural warfare.
Guthrie, who was associated with communists, dealt with the issues of liberty and property ownership in the song. By reviving Guthrie’s folk classic, Mondale’s supporters were making a statement about what American values really meant. They were saying that true patriotism includes questioning inequality and fighting for economic justice.
The song’s revival during Mondale’s campaign showed how older music could gain new political relevance. Sometimes the most powerful campaign songs aren’t new at all – they’re rediscovered anthems that speak to contemporary struggles.
“Born in the U.S.A.” – Reagan’s Musical Misunderstanding
However, a memorable incident arose when Reagan referenced Bruce Springsteen’s “Born in the USA” during a rally in New Jersey. Despite its title, the song critiques the treatment of Vietnam veterans, leading Springsteen to clarify his political stance at a concert.
Reagan’s team completely missed the point of Springsteen’s “Born in the U.S.A.,” turning it into one of the most spectacular musical misreadings in campaign history. They heard the title and the driving beat and assumed it was pure patriotic celebration. It wasn’t.
The song was actually a devastating critique of how America treated its Vietnam veterans. This controversy marked the beginning of a complicated relationship between musicians and presidential campaigns. Reagan’s misappropriation sparked a broader conversation about politicians using songs without understanding their meaning.
This became a cautionary tale for campaigns about the importance of actually listening to lyrics before adopting songs. Sometimes the catchiest titles hide the most subversive messages.
“Don’t Stop” – The Modern Campaign Song Template
Fleetwood Mac really set the standard for the modern usage of campaign music, when Bill Clinton used “Don’t Stop” by Fleetwood Mac in 1992, and it not only became his theme song for that and the next campaign, but it helped reunite Fleetwood Mac for the next 20 years.
Clinton’s use of “Don’t Stop” became the gold standard for modern campaign music. The song perfectly captured the optimism and generational change that Clinton represented. It wasn’t about Clinton specifically – it was about moving forward, which was exactly what voters wanted after twelve years of Republican leadership.
You know, there’s an irony to using “Don’t Stop” as campaign music, because it’s about a split-up between two band members, and Christine’s singing, I know you don’t believe that it’s true. Kind of a perfect campaign song, in that it doesn’t really get in the way of the message, but it makes great exit music. That’s a very powerful affirmative message, as opposed to McCain, who had ABBA, “Take A Chance On Me” – sounded, you know, a little weak.
“Right Now” – Ross Perot’s Urgent Reform Message
Van Halen’s “Right Now” became the perfect soundtrack for Ross Perot’s independent campaign, capturing the urgency and frustration that drove his third-party bid. Independent Ross Perot, an eccentric billionaire, was one of the most unconventional presidential candidates in American political history.
The song’s driving energy and immediate messaging aligned perfectly with Perot’s reform agenda. He wasn’t asking voters to wait for gradual change – he was demanding action right now. The track’s intensity matched Perot’s impatience with political business as usual.
Perot’s use of “Right Now” showed how campaign music could amplify a candidate’s core message. The song didn’t just sound good – it embodied the urgency and reform spirit that defined his campaign.
“I’m Just a Bill” – Schoolhouse Rock!’s Civic Education
While “I’m Just a Bill” wasn’t technically a campaign song, it became crucial campaign infrastructure, educating young voters about how government actually works. This Schoolhouse Rock! classic played at youth events throughout the 1970s and 1980s.
The song helped familiarize an entire generation with the legislative process, making them more informed participants in democracy. When these kids grew up to become voters, they had a basic understanding of how bills become laws – knowledge that many adults lacked.
This represents the long-term power of educational music in politics. Sometimes the most influential political songs aren’t about specific candidates but about the democratic process itself. “I’m Just a Bill” probably did more to create informed voters than countless campaign ads.
“Yes We Can” – The Viral Video Revolution
will.i.am’s “Yes We Can” marked the moment when campaign music fully entered the digital age. This wasn’t just a song – it was a viral phenomenon that amplified Obama’s message far beyond traditional media reach.
The video featured celebrities and ordinary people reciting Obama’s speech lyrics, creating a sense of collective participation in the campaign. It made viewers feel like they were part of something historic, not just watching from the sidelines.
The track demonstrated how digital platforms could democratize campaign music creation. Anyone with basic video editing skills could create content that potentially reached millions of viewers. It changed the game permanently.
“Obama, Obama” – Global Diaspora Mobilization
Cocoa Tea’s reggae anthem “Obama, Obama” shows how campaign music could transcend national borders to mobilize international diaspora voters. This track gained global attention and helped energize overseas Americans who might otherwise have felt disconnected from the election.
The song’s reggae rhythm connected Obama to broader movements for change and justice around the world. It suggested that Obama’s victory would matter not just for America, but for global politics and social progress.
The track represents how modern campaign music operates in a globalized world, where international artists can influence American elections and American candidates can inspire worldwide movements.
“Forward” – The Forgotten 2012 Anthem
Ne-Yo, Herbie Hancock and other artists created “Forward” as Obama’s official 2012 campaign anthem, but it’s now largely forgotten despite featuring major musical talent. This demonstrates how even professionally produced campaign songs can fade from memory if they don’t capture the cultural moment.
The song suffered from being too polished, too committee-produced. Unlike “Yes We Can,” which felt organic and spontaneous, “Forward” felt like exactly what it was – a professional campaign product designed to recreate viral magic.
The track’s obscurity today proves that campaign music success can’t be manufactured through celebrity star power alone. Authenticity and timing matter more than production values or famous names.
“My Country, ‘Tis of Thee” – Aretha’s Historic Performance
Aretha Franklin’s 2008 inauguration performance of “My Country, ‘Tis of Thee” wasn’t a campaign song, but it became symbolically tied to Obama’s victory and the broader civil rights struggle. The Queen of Soul’s rendition transformed a traditional patriotic song into something deeper.
Franklin’s performance connected Obama’s historic presidency to the long struggle for racial equality in America. Her voice carried the weight of that history, making the moment feel like the fulfillment of promises made decades earlier.
The performance showed how established songs could gain new meaning through the right performer at the right historical moment. Franklin didn’t need new lyrics – she just needed to sing with the full power of American history behind her.
“Fight Song” – Hillary Clinton’s Forgotten Anthem
Rachel Platten’s “Fight Song” was heavily used by Hillary Clinton’s campaign, but it’s now largely forgotten due to the campaign’s ultimate loss. Hillary Clinton had “American Girl” – a little bit of an odd song, in that it’s a very kind of ambiguous, emotionally song. It has girl in the title, which, you know, not everyone loves when we’re trying to espouse this view of strong women, but people aren’t necessarily listening to the lyrics and thinking about this teenager Tom Petty was writing about.
The song perfectly captured Clinton’s campaign message about persistence and resilience, but its association with defeat has made it politically toxic. Campaign songs often die with losing campaigns, no matter how well they captured their candidate’s message.
“Fight Song” demonstrates how campaign music can be powerful during the race but completely forgotten afterward. Victory or defeat often determines whether campaign songs enter the cultural canon or disappear into historical footnotes.
“America” – Bernie Sanders’ Nostalgic Revolution
Bernie Sanders’ use of Simon & Garfunkel’s “America” was brilliant because it connected his revolutionary message to nostalgic feelings about America’s past. The song evoked idealism while acknowledging the country’s problems.
Sanders’ team understood that effective political music often works through contradiction – you can be critical and patriotic simultaneously. “America” allowed Sanders supporters to love their country while demanding fundamental change.
The track became a quiet but powerful rallying cry for Sanders’ movement, proving that older songs could still capture contemporary political yearnings when chosen thoughtfully.
“Freedom” – Beyoncé’s Protest Anthem
derivative work: Jonathas Davi (talk), CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=15742413)
Beyoncé and Kendrick Lamar’s “Freedom” became an unofficial protest anthem tied to Black voter turnout efforts and police reform conversations during the 2016 election. While not officially connected to any campaign, it shaped political discourse
Christian Wiedeck, all the way from Germany, loves music festivals, especially in the USA. His articles bring the excitement of these events to readers worldwide.
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