# “It’s MAGA Season”: The Rise of Right-Wing Rappers during Trump’s Presidency

« It’s MAGA Season » : l’essor des rappeurs de droite sous la présidence de Trump

Matthew Anderson

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Matthew Anderson, ""It's MAGA Season": The Rise of Right-Wing Rappers during Trump's Presidency", *Transposition* [Online], 13 | 2025, Online since 14 October 2025, connection on 12 January 2026. URL: http://journals.openedition.org/transposition/9527 ; DOI: https://doi.org/10.4000/15b05

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# “It’s MAGA Season”: The Rise of Right-Wing Rappers during Trump’s Presidency

« It's MAGA Season » : l'essor des rappeurs de droite sous la présidence de Trump

Matthew Anderson

1 The relationship between United States President Donald Trump and hip-hop¹ music has been documented extensively.² While much of the current body of research addresses the predominantly negative backlash towards President Trump's presidency, the relationship between Trump and hip-hop music began much earlier than his campaign or presidency. Since the 1980s, over one hundred hip-hop songs have incorporated “Trump” into their lyrics.³ Originally, the use of his name was associated with wealth, excess, freedom, and power. Though this more affable use of “Trump” as a moniker for success significantly shifted during his campaign and subsequent first term, there is a subset of the genre that has magnified their approval of Trump through their lyrics and content. Indeed, several hip-hop artists considered (and some still do consider) President Trump a friend of the hip-hop community because he opened Mar-a-Lago to Black artists, marking the entry of famous Black Americans into the upper echelons of wealthy American culture.⁴ Additionally, during his presidencies, Trump has pardoned many Black artists for their various misconducts, often for minor federal charges like possession of a firearm.⁵ From the early 1980s, Donald Trump became the epitome of the “American dream” in the eyes of hip-hop artists, and their lyrics and music reflected that feeling. During his first controversial term as president, reflecting the cultural and political pluralism of the United States, hip-hop culture's response to Trump became fractured, with reactions that ranged from admonishments to continued endorsements, something uncharacteristic of a genre which had historically been anti-establishment from its inception. Some of the more notable anti-Trump hip-hop music includes YG and Nipsey Hussle's 2016 song, “FDT” (Fuck Donald Trump), or Eminem's 2017 BET Cypher “The Storm,” wherein he told Trump and his supporters “fuck you!” These approaches to political activism alienated many conservative fans of
hip-hop music and as a result created a vacuum that incited a new brand of rappers who endorsed Trump's presidency and “MAGA” culture (Make America Great Again, or “MAGA” was Trump's political slogan during his first presidential campaign – See Figure 1).

<figure><img src="image_3.png" /><figcaption>Figure 1: "MAGA" Hat. Red hat with the slogan "MAKE AMERICA GREAT AGAIN". Gray, Bryson. "GUN TOTIN' PATRIOT (FT. FORGIATO BLOW) (DIRECTED BY GHOST) (OFFICIAL MUSIC VIDEO)." Performed by Bryson Gray and Forgiato Blow. Posted September 2, 2020. YouTube, 0:03:18. https://www.youtube.com/watch?v=ZPhdpk5Rd6A.</figcaption></figure>

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Since Trump's first campaign, the phrase “MAGA” has become not only a political slogan, but a cultural force wherein a person can *be* MAGA. This new cultural aesthetic plays on populist rhetorical devices to present a public moral dilemma in the United States, typically a rejection of a perceived cultural elitism. A cultural elitism that is a dominant force in modern United States culture, imposing progressive social ideologies on an unwilling public.⁶ The most pervasive of these include issues of immigration; diversity, equity, and inclusion initiatives (DEI);⁷ and priorities promoted by the LGBTQ+ community. As MAGA culture grew, various artists emerged to capitalize on the movement. Rappers who identify with this new subgroup have given themselves the moniker “MAGA Rappers.” This article explores the music of two such MAGA rappers, Bryson Gray and Tom Macdonald, to understand how a political slogan is now a populist community in the United States and ultimately argues that MAGA is the beginning of a new political party, distinct from the Republican party in the US. This new political party is a party predicated on a false dichotomy between a cultural elite (usually college graduates)⁸ and the notion of “traditional American values.” MAGA rap music offers a critical insight into this populist movement because of hip-hop music's tendency towards political activism.⁹ These MAGA rappers explicitly outline how the MAGA culture views itself as the oppressed cultural class. The unity of popular music and populism is well represented in scholarly discourse.¹⁰ For the purposes of this article I frame populism through the dual lens of Ernesto Laclau and Chantal Mouffe as “a discursive strategy of construing a political frontier dividing society into two camps
and calling for the mobilization of the ‘underdog’ against ‘those in power.’”¹¹ Popular music is by the people, for the people, and is therefore often considered a perfect vehicle for a call to action against an elite class by those seeking political motion.

In this article I interrogate Bryson Gray's "Gun Tottin' Patriot"¹² and Tom Macdonald's "Facts" featuring Ben Shapiro,¹³ to explain this political identity and outline hip-hop music's position in the political discourse in the United States. I begin by addressing the relationship between hip-hop music and politics in the United States, stretching from its place in elections to political activism. I then outline hip-hop music's relationship with Donald Trump, using a corpus study of music that references him by name, to characterize what "Trump" has represented historically, and how that relationship has changed since his political career. I then address the cultural backlash of conservative fans of hip-hop after rapper Eminem's "line in the sand" in his 2017 Cypher, to illustrate the subsequent cultural vacuum created by his political activism. Finally, using a combination of multimodal discourse analysis and Adam Krim's theory of hip-hop analysis, through the lens of Laclauian theories of populism, I analyze Gray's and Macdonald's songs to explore the discursive elements of MAGA populism and draw conclusions as to what this movement is and understand how "MAGA" itself has become an identity. This analysis enhances a growing body of work on popular music and populism, while demonstrating the expansion of right-wing populism in both culture and politics.

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Methodology and Definitions of Terms

Adam Krim's theory of poetics in rap music presents an analytical framework with which to examine hip-hop music in both its musical and cultural contexts.¹⁴ Krim's suggests that when analyzing hip-hop music, we must consider the salient cultural aspects of hip-hop culture, and the broader sociopolitical culture of a given space, in this case the United States. He says, "the sonic organization of rap music – both the rapping itself and the musical tracks that accompany it – is directly and profoundly implicated in rap's cultural workings, especially in the formation of identities."¹⁵ What Krim's theory illustrates is how rap music constructs and negotiates identity through musical, lyrical, and cultural practices. He blends musicology, cultural studies, and discourse analysis to examine how hip-hop music's sound, production techniques, and lyrics work together to create meaning. Multimodal discourse analysis informs Krim's theory by including these various analytical methods with analytical tools from linguistics, visuals (as in music videos), audio, or performance, wherein gestural and spatial elements are also considered. Through these two forms of analysis, I will demonstrate the construction of MAGA as an identity.

This analysis will necessarily be informed by populist theories by Laclau to demonstrate the political forces at work in MAGA culture and identity. Populism, as defined by Laclau, is fundamentally a discursive and rhetorical strategy used to construct "the people" in opposition to an "elite" or "other."¹⁶ Because politics are inherently antagonistic, meaning it is structured by conflicts rather than consensus, populism emerges when a group articulates social demands that play on affective investments. Thus, allowing an individual leader to mobilize groups of people through constructed collective identities, rather than purely rational arguments.¹⁷ Populism is reliant on an identification with a process, polity, or identity.¹⁸ Oftentimes, populist

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expression comes in the form of popular music, wherein group aesthetics can be expressed and therefore animate the feelings associated with said group.¹⁹ The Laclauian populist framework, expanded to include scholarship on popular music as a political tool, outlines the very identity that has become the expression of Trumpian politics – “MAGA.”

6. Since Trump's first campaign, “MAGA” has become much more than a political slogan. “MAGA,” and the subsequent evolution of the movement known as “Ultra-MAGA,” is a movement constructed through populist rhetorical devices. Trump's own brand of populism is what is commonly referred to as “authoritarian-populism,” because of his promotion of security against instability, conserving traditional values, and the belief that there is a need to protect an abstract “us” from an equally abstract “them.” Additionally, what makes Trump's populism authoritarian is the adherence to one leader as a guiding force and protector.²⁰ Trump outlines this position in a speech at a Conservative Political Action Committee meeting in 2023,

> In 2016 I declared: I am your voice. Today I add: I am your warrior; I am your justice; and for those who have been wronged or betrayed, I am your retribution... I will put the people back in charge of this country again, the people will be back in charge of our country.²¹

7. Here, Trump clearly indicates his position as the champion of “the people.” MAGA has become the political manifestation of Trumpian political ideology. It is a rejection of cultural elitism and progressive social ideology, largely against DEI initiatives and the LGBTQ+ community, commonly referred to as “wokism.” In a podcast with Lex Fridman, Saagar Enjeti quipped about MAGA:

> I once drove past... It was in rural Nevada, and I was driving and I drove past the biggest sign I've ever seen, a political sign, to this day. And it was in 2020. It just said, “Trump, fuck your feelings.” And I still believe that is the most coherent MAGA thing I've ever seen.²²

8. What Enjeti's quote illustrates is the idea that people who identify with the MAGA movement are fed up with the notion of DEI and social liberalism in the United States. It instead believes in a supposedly meritocratic society, rooted in Christian values and American traditionalism. It should be understood that the term “MAGA” has taken on an identity of its own. A person or community can now be MAGA, and that expresses the value systems of the current populist right in the United States.

## Hip-Hop and US Presidents

9. Hip-hop historian Bakari Kitwana notes that hip-hop has been an integral part of politics in the United States since at least the 1990s,²³ a sentiment that was mirrored by rapper Bun B when he said, “before #BlackLivesMatter, there was hip-hop.”²⁴ Though this article focuses primarily on the relationship between US Presidents and hip-hop music, the connection between Black music has long been tethered to sociopolitical critique that extends far beyond both hip-hop and US Presidents. Trica Rose cites “slave dances, blues lyrics, Mardi Gras parades, Jamaican patois, toasts, and signifying,” as some of the myriad ways in which Black artists in the Americas engaged with political discourse covertly to criticize those in power.²⁵

10. Hip-hop music has always been in direct dialogue with major shifts in American society. For example, Grandmaster Flash and the Furious Fives' “The Message,” a song
that points out the inequities of American life between Black and white communities, was far from the only song to do so. NWA's “Fuck the Police” in 1988 was outwardly anti-Reagan, in a much more critical way, calling attention to police brutality and violence due to the antidrug crackdowns in Black neighborhoods. The success of NWA and Gangsta Rap led President George Bush Sr. to work with NWA's Eazy E to discuss issues of police presence and ways to mitigate dissent. Subsequently, after seeing the influence hip-hop was having on American youth and culture more broadly, other presidents and presidential campaigns attempted to incorporate hip-hop and hip-hop artists into their candidacy.²⁶

11 A turning point in the relationship between hip-hop and politics came in 2008 with the election of President Barack Obama. For many, Obama's election marked significant progress in American culture, that the American dream had finally been realized; a Black man had ascended to the highest position in the country. As president, Obama referenced and promoted Black culture regularly. He brushed his shoulder off a-la Jay-Z, dropped the mic like Kobe, invited artists like Kendrick Lamar and Common to the White House among other gestures. Many rappers rejoiced for the new president, and their music reflected that. Black culture became completely mainstream, and was elevated to an acceptable, even distinguished, status.

12 Hip-hop became a mainstay in political activism, on the relationship between rap and politics, Katie Rios writes that rappers, play with words and gestures in such a way that allows for the meaning of their message to be amplified... these messages have been particularly amplified in the age of Trump... The directness of the genre of hip-hop is a central component for the messages of these artists... the artists who pose such questions do so in a way that subverts authority and directly challenges the status quo.²⁷

13 However, the relationship with Donald Trump is more complicated, and Rios' initial feelings on the response toward Trump's presidency failed to encapsulate everything that happened after he was elected. Both Rios and Rose, and indeed many other scholars of hip-hop music, detail the ways in which hip-hop artists subvert authority and challenge mainstream political discourse, often informing the masses of the injustices wrought by systemic inequities.²⁸ Donald Trump, though heavily criticized by much of the music made by hip-hop artists, has also garnered approval by a large group of hip-hop artists. Through his status as a symbol of economic wealth and freedom, his populist political methods, and his cultural impact, Trump inspired a branch of hip-hop artists that acts outside of the norms of traditional hip-hop's tendency towards political activism. Therefore, the unique dichotomy in which artists celebrate Donald Trump's powerful position in both the US political and cultural landscapes illustrates the uniqueness of the MAGA movement as a new political identity, predicated not on racial binaries, but on cultural identities.

## Hip-Hop and Trump

14 The intersection of hip-hop and Donald Trump has evolved significantly over the decades, reflecting broader societal attitudes toward wealth, power, and political identity. In a corpus study found on the Wikipedia page dedicated to the relationship between hip-hop music and Trump, there lies a list of hundreds of hip-hop songs that use the word “Trump” in some capacity.²⁹ The corpus starts with the earliest uses of
"Trump" in rap lyrics in the 1980s and continues through modern-day uses of "Trump" in lyrics. It categorizes each section by decade until 2015, wherein it switches to a division of sections based on their relationship to Trump's campaigns and presidential terms. The songs and lyrics referenced in the following section were selected based on the lyrics ability to articulate the broader context in which they were originally performed. Though the selection demonstrated is limited, the corpus is extensive, and features perspectives from a multitude of artists. As one considers President Obama's relationship with hip-hop culture and its largely positive and extensive nature,³⁰ it is important to clarify that Trump's relationship with the culture is unique in that it begins long before his campaign or subsequent presidencies. To analyze the historical heritage of MAGA rappers, the following section explores the development of the relationship between Donald Trump's life and hip-hop music.

## 1. 1980s to 2014: Symbols of Wealth and Status

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The earliest period, extending from the 1980s to 2014, is characterized by the use of Trump as a symbol of wealth and status in hip-hop lyrics. Artists frequently referenced Trump and Trump Towers, associating them with affluence and success. For instance, The Fat Boys in "Lie-Z" (1989) proclaim, "I got money like Donald Trump," while A Tribe Called Quest's "Skypager" (1991) features the line, "Beeper's goin off like Don Trump gets checks." This trend continued with Ice Cube's "Three Strikes You In" (1998) and Big Sean's "Get It" (2010), where artists aspired to reach "Donald Trump level" wealth. Musically, this era encompassed a range of styles, from gritty political rap to more upbeat pop influences. This range of artists and styles indicates the ubiquity of "Trump" as a status symbol of freedom and wealth, wherein even politically conscious rappers like A Tribe Called Quest and Ice Cube referenced Trump without reservation. An understanding of this early era of Trump in hip-hop demonstrates that "Trump" was a positive reference. To be Trump-like was to have succeeded economically and socially in the US. The characterization of "Trump" as wealth and status symbol are pervasive and hard to eliminate completely in later discourse.

## 2. 2015-2016: The Rise of Hostility

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The second period coincided with Trump's first presidential campaign, marked by a sharp shift in lyrical tone. Hip-hop artists expressed visceral hatred and violence towards Trump and his candidacy. Songs like The Game's "El Chapo" (2015) depict violent imagery, stating, "I can have Guadalupe/Come through and knock Donald Trump out his toupee." Similarly, Rick Ross in "Free Enterprises" (2015) declares, "Assassinate Trump like I'm Zimmerman," while Lil Durk's "See Me Down" (2016) warns of a return to "the basics" (as in a regression of the progress made for Black Americans by Barack Obama's presidency) if Trump were to win. This period reflects the anxiety felt by rappers based on the contentious nature of the election, mirroring society in the United States writ large. The US was socially split on the validity of Trump as president, many feared that it would be detrimental to political structures and American society, not to mention the impact it may have on global relationships. However, the strong body of Trump supporters leading up to the election worried many that Trump's presidency was a possibility.³¹
### 3. 2017-Present: Political Turmoil and Mixed Responses

17 The third period, spanning Trump's first presidency from 2017 to 2021, ushered in a wave of politically charged music reflecting disappointment and dissent, for example YG's “FDT” (2017) or Kendrick Lamar's “XXX” (2017). Lyrics during this time frequently lamented the loss of President Obama, while addressing issues of class, racism, and sexism. The reaction against Donald Trump's presidency marks what Kaite Rios explored in her book, and the large amount of critical discourse that engages with hip-hop's relationship with social justice and activism.³²

18 However, this era also saw a diversification of responses, with some artists voicing their discontent, while others began to endorse Trump, like Ice Cube, ASAP Rocky, Lil Wayne, Kodak Black, Shaq, and Wocka Flocka Flame.³³ The latter of whom felt that President Obama was not a representative of Black culture in America because of his elitist upbringing. Donald Trump appeals to the baser nature of hip-hop: misogyny, wealth, unapologetic brashness and braggadocio that is commonly associated with the style of political discourse found in the 1980s subgenre of hip-hop called “gangsta rap.”³⁴ This new group was influenced by a perceived vacuum in hip-hop narratives where there was an overwhelming amount of anti-Trump rhetoric, and very little support. The resulting music encapsulated the complexities of a divided political landscape, illustrating hip-hop's capacity to mirror societal tensions.

19 Through these distinct periods,³⁵ the relationship between hip-hop music and Donald Trump highlights a dynamic dialogue between the artists and the sociopolitical climate of the United States. From early representations of wealth to the aggressive backlash during his candidacy and the myriad responses during his presidencies, hip-hop demonstrates a fluidity in the way it reflects the complexities of identity and political affiliations in the United States. Trump's unique place in hip-hop did not end with his first term as president. Indeed, his political ideologies and following have only intensified. “MAGA” is no longer a political slogan, but a political ideology and perhaps a new political party, one that is now being expressed by hip-hop artists in the United States.

### A Shift Toward “MAGA”

20 An exemplar of the shift in hip-hop culture is elucidated by the 2017 BET Cypher wherein white rapper Eminem delivered a scathing indictment of the then recently elected President Donald Trump and drew a figurative “line in the sand” between his fans who supported Trump and everyone who opposed Trump's presidency, effectively shunning Trump-voting fans. Eminem's political statement yielded significant negative backlash, as many of his fans turned out to be Trump supporters who felt that Eminem has “switched sides” after he had been seen in 2004 on stage with Donald Trump during a mock convention performance known colloquially as the “Shady National Convention.” Donald Trump was invited to this “convention” to support Shady (aka Eminem) saying that the rapper had his vote for the presidency, marking them as friends in the eyes of both men's fans.³⁶ However, when Trump ran for office, the support was not returned. Instead, Eminem was largely critical of Trump's candidacy, leading to the negative reaction of his politically conservative fans.
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This response is unexpected because Eminem had always been anti-establishment and against conservatism – in true hip-hop form. In his song “White America” (from 2002’s The Eminem Show) he is critical of the political climate after 9/11, as patriotism was at an all-time high. He bashes the US government and lays down a satirical indictment of the American Dream and American way of life by pointing out how so many in the country suffer unfairly based on race and class. He is critical on many other records of poor white culture in the United States, often referring to them as “white trash” and offers other similarly derisive criticisms of white Midwestern or Southern cultures.³⁷ However, these songs did not deter audiences upon their releases, so, it originally seemed odd that his views on Trump were the final straw for his more many of his fans, until one considers that MAGA identity has largely supplanted conservativism in the United States and is significantly more dogmatic in its approach.³⁸

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Eminem's verse for the 2017 BET Cypher is presented over no music, presumably to make sure nothing distracted from the declaration or to attempt to present as more sincere. It gives the sense of a proclamation similar to other political speeches, most of which are similarly presented without music. Lyndon C.S. Way emphasizes that Eminem's attempt at sincerity and clarity here is a result of articulating his position as a representative of “the people” in the populist sense.³⁹ Lyrically, Eminem builds a dichotomy between an imagined “us” and “them,” and “him” (meaning Trump). He is characteristically aggressive, both towards Trump and to Trump supporters, at times mocking supporters by using Southern accents and even telling them at one point “fuck you.” By utilizing populist rhetorical devices, conjuring up two opposing sides to this issue, Eminem alienates those who he asserts are part of the “other” by way of being a Trump supporter.⁴⁰

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As hip-hop artists like Eminem intentionally pushed away fans of theirs who liked and supported Trump's presidency, a cultural vacuum was created for those who wanted to consume hip-hop music with political messaging they identified with.⁴¹ These new rappers are markedly politically conservative in their lyrics, which is surprising given the history of hip-hop. Rappers like Bryson Gray and Tom MacDonald are emblematic of this trend, but do not represent the entirety of hip-hop artists who have begun to react more positively to Trump. These rappers put heavy emphasis on issues surrounding rights to own and carry firearms and Christianity, while praising Trump, denouncing the Democratic party, and valuing what is now considered MAGA culture, which has birthed the name “MAGA rappers.”⁴²

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The lyrics featured in songs by MAGA rappers expand on hip-hop's tradition of political activism, but through a right-wing political framework, forgoing any sense of racial unity or activism. Whereas hip-hop music tends to be critical of conservative governmental policy and presidents generally, MAGA rappers endorse Trumpian politics. According to the artists who operate within MAGA culture, they are fighting for what they view as oppressed voices. Additionally, one might argue that rappers like Gray and MacDonald are actually a logical step for hip-hop because they emphasize similar values of the original hip-hoppers – guns, religion and spirituality, and a general distrust of the government.⁴³ However, their desire for MAGA culture, Donald Trump as a leader specifically, patriotism for the US, and United Statesian, Christian values – characterized by the nuclear family or marriage being between biological men and women, with an anti-LGBTQ+ leaning, pro-life stances (against legalized abortion), a belief in one Christian God and Jesus Christ, and a national government informed by
these values – are unique to this new movement.⁴⁴ Not to mention the general repulsion from political activism that supports and empowers Black Americans and an appropriation of a musical culture and style which used to champion the Black experience in the United States.

## MAGA Rappers, A Shift in Culture and Capital

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In a VICE documentary on MAGA rappers, Erica Matson interviews rappers Bryson Gray, Forigato Blow, and others.⁴⁵ Initially, the conclusion is that MAGA is a “grift,” or a small-scale swindle or hustle, meaning that these rappers are exploiting a group of people for financial gain. Forigato Blow detests this critique saying, “I *am* MAGA,” and “how can this be a grift when I’m the one who started it?”⁴⁶ However, Blow also says that his foray into MAGA rap came to him when he could not figure out how to become more popular as a hip-hop artist. Moreover, as seen in the documentary, the rappers have extremely quick turnaround rates when it comes to releasing singles and music videos. In the documentary, we see both Forigato Blow and Bryson Gray working on a new track about Kyrie Irving and his issues with the National Basketball Association because of his refusal to get the COVID-19 vaccine, beyond this, Irving was in trouble for promoting an anti-semitic film on his social media. Gray is notably disappointed when news comes out that Irving apologized for his insensitively, just hours before their recording session. The rappers then change course and refer only to his anti-vax stance, marking how quickly they are reacting musically to the news cycle and conservative talking points. In another example of this quick production rate, Gray released eleven singles and two albums in 2023 alone. This is significantly faster than most hip-hop artists and is likely because the content of his music is so heavily predicated on the news cycles.

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In this way, MAGA rappers are much more businesslike than their hip-hop peers. It is worth noting, however, that the relationship between hip-hop and consumer culture is a well-documented duality.⁴⁷ Tricia Rose refers to “commercial hip-hop” as the “heavy promotion of gangstas, pimps, and hoes churned out for mainstream consumption.”⁴⁸ Here, the MAGA rappers have shifted away from the commodification of Black culture in favor of commodifying MAGA culture and Donald Trump specifically. Their fans clamor for new singles and Joe Biden diss tracks, so there is no shortage of demand. This is reflected in the artistry as well. Whereas hip-hop has been known for its intricate use of samples to convey meaning, metaphors to convey ideas, MAGA rappers forgo such techniques in favor of a simple, straightforward approach, avoiding complications, intrigue, or varied interpretation. The lack of artistic complexity panders to those who identify with MAGA cultural sentiments, and who is interested only in media that aligns with their current political leanings.

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The most fascinating aspect of this music-as-business model is their merchandise. Artists selling merch at shows or on their individual webpages is nothing new, but MAGA rappers sell MAGA merch at their shows. Trump flags, MAGA or UltraMAGA hats, and popular antiliberal slogans on t-shirts are found at MAGA rapper shows. Instead of pedaling individual artists, these musicians are pedaling MAGA. It is challenging, then, to see this outside of a “grift,” as critics of the subgenre call it. In her interview, Owens asks the rappers what the shelf-life of this movement is, and they are optimistic that it will not die. They are articulating that MAGA is beyond even Trump, then. A
burgeoning movement for people who are pro-gun, Christian, patriotic in the extreme, anti-LGBTQ+, anti-immigration, favoring traditional American values, and antiliberal. A far cry from the political rappers who were not affiliated with a political party but wanted to promote education, employment and workers' rights, reparations, economic infrastructure in urban communities, and youth poverty in Black communities in an effort to foster equity among all Americans.

## MAGA Rappers Case Studies

28 The following section looks at the music and lyrics from songs by two different MAGA rappers using multimodal critical discourse analysis to interrogate the ways in which these artists articulate a MAGA identity. By comparing the lyrics and music of Bryson Gray's “Gun Totin' Patriot” (2020) and Tom MacDonald's “Facts” (2024) to illustrate the commonalities of MAGA cultural expression between various MAGA rappers. I chose Gray's song because its lyrical content outlines the populist position of participants of MAGA culture succinctly by expressing verbatim several MAGA positions. I chose MacDonald's song because it features conservative political pundit Ben Shapiro, who used to famously proclaim “rap is not music,” and the fact that MacDonald is Canadian, thereby demonstrating the reach of the populist MAGA movement.

### Gray's "Gun Totin' Patriot"

29 “Gun Totin' Patriot” by Bryson Gray is a song that embodies themes of patriotism and gun rights, reflecting the traditional conservative perspective within United Statesian culture. Gray presents himself as a defender of these MAGA ideals, positioning gun ownership as a vital part of his patriotism. A significant aspect of the lyrics focuses on the right to bear arms, arguing that gun ownership is essential for personal freedom and protection against tyranny. Gray critiques what he perceives as an increasing antigun sentiment and political correctness. His lyrics suggest a backlash against movements that advocate for stricter gun control laws, framing them as a threat to individual liberties. Additionally, the track features another rapper, Forigato Blow, who is known also as the “Mayor of MAGAville.”⁴⁹
<figure><img src="image_7.png" /><figcaption>Figure 2: Bryson Gray in his music video "Gun Totin' Patriot". Rapper stands wearing merchandise representing Donald Trump's 2020 campaign, while holding an assault rifle. His red hat reads, « MAKE AOC BARTEND AGAIN » (AOC refers to United States representative Alexandria Ocasio-Cortez).</figcaption></figure>

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The song opens with a clip from a speech by former police officer-turned conservative influencer, Brandon Tatum, which was given at a MAGA rally where he is advocating for Second Amendment rights, or the right to possess and carry firearms according to the United States Constitution. He says, “what’s going on God fearing, gun toting patriots? I love the Second Amendment; God gave it to me. Not one Politian, not one government legislation can take it from me.” After which the beat comes in and Gray is chanting “MAGA gang, KAG gang.” (KAG stands for “keep America great,” a slogan to keep Trump in office during the 2020 election cycle). Gray’s chorus and first verse focus on gun rights, free speech, belief in God, and perceived lies by the Democratic party or liberals in general. His first verse is:

Gun totin', Bible reading
God believing, truth speaking American
It's MAGA season, Democrats committin' treason
I know they think it sweet
But you don't know who you dealin' with
This for free thinkers only you ain't got no membership
They free General Flynn out the cage 'cause he innocent
Pardon Roger Stone 'cause the world know that he innocent
We need to kick out every single illegal immigrant
Mandatory voter I.D. laws we need to implement
Tell Jesse Smollett that I know this MAGA Country
Tell China we know they tryin' to play us like some dummies⁵⁰

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Gray's verse serves as a laundry list of issues with liberal media and politics. Following Krims' analytical method, one can surmise that Gray is presenting an identity of a MAGA politician. His talking points including mandatory voter I.D. laws, immigration, along with popular conspiracy theories under the guise of "free thinking" are those propagated by United States right-wing news channel Fox News and President Trump himself. They are accompanied by an emphasis on traditional American values, like patriotism, Christianity, and gun rights. Gray forgoes metaphor with heavy-handed, clear-cut references to Trumpian messages to illustrate clearly the demands of the movement. Gray makes it clear lyrically that he is a representative of the MAGA cause and implores his listeners to "wake up" and see the deceit from the political left
through lines like “democrats committin' treason,” “why did Obama send money to that Wuhan lab?,” and “why is there so much propaganda? Funny you ask/How bout that Bill Gates vaccine? (Nah) Sorry, I'll pass.” Gray lyrically emphasizes his trustworthiness and authenticity through phrases like “‘cause I'm real and they be fakin' it,” “Truth speaking American,” or “this for free thinkers only you ain't got no membership.” It is important to Gray to play into the populist dichotomy in order to articulate the “us” versus “them,” in this case those who identify with MAGA versus liberals.

32

Musically, Gun Tottin' Patriot utilizes a trap beat and fits a modern popular hip-hop style. This is salient because although it is lyrically appealing to conservative values, musically it falls into modern production methods and styles. Because Gray is appealing to a politically conservative audience in the US, one might expect him to sample country or rock music; however, Gray's use of modern hip-hop musical techniques like trap drums and booming 808s, instead marks his desire to be seen as protest music, in direct dialogue with traditional hip-hop.⁵¹ He sees MAGA identity as one fighting against the perceived tyranny of the left where Christian values, gun rights, and American lives are at risk. Gray presents a counterculture identity (MAGA) over a hip-hop beat as a means of protest against white media and political outlets that he feels are pressuring his culture and people, but this time the community lines are not drawn by race, but by political affiliation. “Gun Totin' Patriot” serves as both a personal declaration and a rallying cry for those who value gun rights and patriotism. Through its assertive lyrics and energetic delivery, Bryson Gray effectively captures a specific cultural and political sentiment, making it a significant piece in the landscape of contemporary American music and a representative of MAGA identity.

## Macdonald and Shapiro's "Facts"

33

On January 26, 2024, conservative pundit, Ben Shapiro, released his debut rap single “Facts” with Canadian Rapper Tom MacDonald. This is a far cry from his earliest discussions on hip-hop wherein he claimed that rap was not music. Though he publicly changed his attitude toward the genre, many were surprised at his rap verse on the song, and it received condemnation from critics. Critics largely panned “Facts,” with various outlets describing it as a lazy attempt to provoke outrage among conservatives while mocking liberal viewpoints. Justin Baragona from The Daily Beast called it a “lazy exercise” in culture war themes,⁵² while Alex Hudson and Rachel Ulatowski labeled it the “worst song ever,” criticizing its racism and transphobia.⁵³ Others, like Grant St. Clair, noted that Shapiro’s past disdain for rap music made his participation in the song ironic.⁵⁴ Not all of the responses to the song were negative, however. Though she was “called out” in the song, Nicki Minaj congratulated Ben Shapiro on his song reaching number one on the U.S. iTunes sales chart.⁵⁵ Her endorsement shocked both her fans, the Barbz, and fans of hip-hop, all of whom criticized her for associating with Shapiro.
<figure><img src="image_8.png" /><figcaption>Figure 3: Ben Shapiro (Left) and Tom MacDonald (Right) in the music video for "Facts". Two rappers stand together in front of a digital background. They wear gray sweatsuits with the phrases « FACTS DON'T CARE ABOUT YOUR FEELINGS » and « I DONT CARE IF I OFFEND YOU »</figcaption></figure>

34 "Facts" is a collaboration that merges rap with political commentary, reflecting both artists' perspectives on contemporary social issues. The song is heavily infused with references to the ongoing "culture wars" in the United States. The "culture wars" in this sense is a right-wing slogan to articulate the feeling of a progressive cultural takeover. Both MacDonald and Shapiro critique what they perceive as the absurdities of "woke" culture, addressing topics like political correctness, identity politics, and social justice movements. The lyrics aim to provoke thought and reaction, using hyperbole and confrontational rhetoric. This aligns with Shapiro's style of political commentary, which often challenges liberal viewpoints. The song title is in reference to Shapiro's famous phrase: "facts don't care about your feelings."

35 The song is striking for a number of reasons. Firstly Shapiro, a trained classical violinist, is inept at rapping, his delivery is stiff and uncomfortable which is not surprising, as he was a vocal critic of hip-hop music for so long ignorant of the genre. Secondly, though the song is largely based in American patriotism, MacDonald is a Canadian rapper. He calls for second amendment rights and asks in his verse, "where the American flags at?" So, the song features a political pundit who has traditionally been anti-hip-hop, rapping, and a pro-American Canadian rapper, these incongruencies are disorienting until one considers the cultural implications of the song itself.

36 Like "Gun Totin' Patriot," the lyrics in "Facts" focus primarily on contemporary right-wing talking points. MacDonald's verse calls out cancel culture, claims he is not ashamed of his whiteness, anti-woke and anti-LGBTQ+ sentiments, and again references gun rights. In his chorus he emphasizes that he does not care who he offends and asks, "what would Ben [Shapiro] do?" which is an obvious reference to the Christian slogan,
"what would Jesus do?" Therefore, instead of a religious figure, MacDonald wants us to consider Shapiro as such a role model.

37 Following this form, Shapiro's verse is full of braggadocio, a staple of hip-hop<sup>56</sup> as he emphasizes his prowess as an intellectual ("I've got the facts"), a wealthy individual ("My money like Lizzo, my pockets are fat"), and that people who dislike him are unknown, "woke Karens." Shapiro espouses that he is ideologically superior to those who hate him, and his verse is asserting that those who oppose him are irrelevant because of his overall wealth and success. Contextualizing Shapiro's verse in the song, it lyrically solidifies him as one we should be admiring, even worshipping as a source of "truth."

38 Like Gray's song, "Facts" too is over a trap hip-hop beat. The popularity of trap-style hip-hop music in the United States alludes to the commercialized nature of both these tracks. Simplicity is favored over musical depth for sake of getting information across, like a political message or newscast. It holds modern conservative (MAGA) culture and ideology over individual identity. The claim is that listeners should be striving to embody Trumpian or Shapiroian philosophy or ideology as a legitimate truth. Following Krims' theory, "Facts" demonstrates a pluralistic MAGA identity that holds Shapiro up as a leading figure. The song constructs MAGA identity through its accessibility, lyrical content, and populist framework wherein again the rappers divide listeners into an "us" versus "them" dichotomy.

## Conclusions

39 The Trump campaign appropriated aspects of hip-hop culture as seen in Ben Shapiro's "Facts," and other songs like it. Hip-hop's ubiquity has led to its commodification in mass media, something many feared might happen after politicians began to appropriate it for their campaigns.<sup>57</sup> Bakari Kitwana feared this development in the conclusion of his book in 2002, writing,

> The real question is this: why should hip-hop generationers continue to participate in and support a multibillion dollar industry if it fails to in any way address the critical problems facing our generation? What good is rap music if it does nothing more than to give young Blacks the opportunity to "dance to our own degradation" and if it enriches only a few at the expense of the many?<sup>58</sup>

40 This sentiment was confirmed by *The Guardian* writer Tayo Bero in her 2023 article titled: "Why are Black Rappers Aligning Themselves with the Right?" She writes, "Rap is no longer the embodiment of African American resistance it once was. Now, it's a hyper-commercialized cultural assembly line that's somehow been redesigned to glorify the very issues it once pushed so hard against."<sup>59</sup> From the cultural underground to commercials and campaign trails, hip-hop has reached a critical mass as the genre unwillingly parodies itself. Taking advantage of this are MAGA rappers. "MAGA" has become an identity, an imagined community that is both within the United States and yet not entirely American, and is clearly growing beyond the US, as seen by MacDonald's Canadian representation. Predicated on right-wing populism, MAGA culture fights for legitimacy against an enemy that is articulated by progressive cultural policies.

41 This article was researched and written largely before the 2024 election wherein Donald Trump won the candidacy for a second term as the President of the United
States. Since his third campaign and second successful election, there has been a whole
new wave of music celebrating Trumpian politics, and many more artists have begun to
participate, to varying degrees, with Trump's administration. Take for example, Snoop
Dogg and Nelly's performances at Trump's inauguration,⁶⁰ or the USA Freedom Kids
singing "Freedom's Call" at Trump rallies.⁶¹ There is even a song celebrating Elon Musk,
a member of Trump's political team, called "Thank You Elon Musk" by Alessandra
Basher where she thanks Musk for his "master plan to save our lives."⁶² The right-wing
MAGA movement has permeated popular culture beyond the scope of my original
article, and it is moving much more quickly than a few MAGA rappers and Ben Shapiro.
This case study exemplifies the continued pervasiveness of right-wing populism in
modern Western culture – a trend that is clearly only gaining traction.

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## NOTES

1. ROSE Tricia in *Black Noise: Rap Music and Black Cultural Resistance in Contemporary American Popular Culture*, Middletown, Wesleyan University Press, 1993, defines "Hip-hop" as a cultural phenomenon encompassing music, art, fashion, language, and sociopolitical engagement, and defines "rap" as the genre of music within a broader hip-hop culture. However, because this article deals with both hip-hop culture and rap music simultaneously and at various times, they will be used interchangeably here. In either instance, the reader should assume that both refer primarily to the musical aspect of hip-hop culture as it pertains to "MAGA" culture.

2. See RIOS Katie, *"This is America": Race, Gender, and Politics in America's Musical Landscape*, London, Lexington Books, 2021; MATSON Erica, "Yes, MAGA Rap is Real and Trump Supporters Love It | Fringes", YouTube, April 23, 2023, https://www.youtube.com/watch?v=ucgu-Ooxy9c, accessed June 17, 2025; WASHINGTON Jesse (Directed by), "Hip-Hop and the White House", 2024, Hulu, Andscape; and the extensive Wikipedia article on the subject: "Donald Trump in Music," https://en.wikipedia.org/wiki/Donald_Trump_in_music#:~:text=Background-,Hip%20hop,alter%2Dego%2C%20Donald%20Tramp, to name just a few examples, accessed June 17, 2025.

3. See the Wiki article referenced above.

4. *The Hilltop*, "Donald Trump & Hip-Hop: An Unlikely Friendship", August 19, 2024, https://thehilltoponline.com/2024/08/19/donald-trump-hip-hop-an-unlikely-friendship/, accessed June 17, 2025.
5. BERO Tayo, "Why Are Black Rappers Aligning Themselves with the Right?", *The Guardian*, August 10, 2023, https://www.theguardian.com/commentisfree/2023/aug/10/black-rappers-aligning-right-conservative-ice-cube, accessed June 17, 2025.

6. FRIDMAN Lex, "Saagar Enjeti: Trump, MAGA, DOGE, Obama, FDR, JFK, History & Politics", *Lex Fridman Podcast*, episode 454, December 8, 2024, https://lexfridman.com/saagar-enjeti-2/, accessed June 17, 2025.

7. Trump's second campaign ran heavily against DEI initiatives, especially in collegiate or university settings, see FRIDMAN, "Saagar Enjeti: Trump, MAGA, DOGE, Obama, FDR, JFK, History & Politics", episode 454.

8. FRIDMAN, "Saagar Enjeti: Trump, MAGA, DOGE, Obama, FDR, JFK, History & Politics", episode 454.

9. KITWANA Bakari, *The Hip Hop Generation: Young Blacks and the Crisis in African American Culture*, New York, Basic Books, 2002; KRIMS Adam, *Rap Music and the Poetics of Identity*, Cambridge, Cambridge University Press, 2011; PERRY Imani, *Prophets of the Hood: Politics and Poetics in Hip Hop*, Durham, Duke University Press, 2004; and ROSE, *Black Noise: Rap Music and Black Cultural Resistance in Contemporary American Popular Culture*.

10. For example see, DUNKEL Mario and SCHILLER Melanie, "The People vs. the Power Bloc? Popular Music and Populism", *Popular Music*, vol. 41, n° 3, 2022, p. 281-292; DOEHRING André and GINKEL Kai, "Songs of Tractors and Submission: On the Assembled Politicity of Popular Music and Far-Right Populism in Austria", *Popular Music*, vol. 41, n° 3, 2022, p. 354-369; FERRARO Angustín and MOLINA Raúl José (eds), *The Many Faces of Populism: Perspectives from Critical Theory and Beyond*, London, Emerald Publishing, 2020; GORZELANY-MOSTAK Dana, *Tracks on the Trail: Popular Music, Race, and the US Presidency*, Ann Arbor, University of Michigan Press, 2023; JORDAN Matthew F., "Obama's iPod: Popular Music and the Perils of Postpolitical Populism", *Popular Communication*, vol. 11, 2013,p. 99-115; PATCH Justin, "Notes on Deconstructing the Populism: Music on the Campaign Trail, 2012 and 2016", *American Music*, vol. 34, n° 3, 2016, p. 365-401; and PUTNAM Michael T. and LITTLEJOHN John T., "National Socialism with Fler? German Hip Hop from the Right", *Popular Music and Society*, vol. 30, n° 4, 2007, p. 453-468.

11. SMITH Anna Marie, *Laclau and Mouffe: The Radical Democratic Imaginary*, New York, Routledge, 2014.

12. GRAY Bryson, "Gun Totin' Patriot (feat. Forgiato Blow) (Directed by Ghost) (Official Music Video)", YouTube video, 3:01, September 18, 2020, https://www.youtube.com/watch?v=ZPhdpk5Rd6A, accessed June 17, 2025.

13. MACDONALD Tom, "Facts" – Tom MacDonald (feat. Ben Shapiro), YouTube video, 4:45, posted March 30, 2023, https://www.youtube.com/watch?v=5kGpohEpuTE, accessed June 17, 2025.

14. KRIMS, *Rap Music and the Poetics of Identity*.

15. *Ibid*.

16. LACLAU Ernesto, *On Populist Reason*, London, Verso, 2018 [2005].

17. DUNKEL and SCHILLER, "The People vs. the Power Bloc? Popular Music and Populism", p. 281-292.

18. JORDAN, "Obama's iPod: Popular Music and the Perils of Postpolitical Populism", p. 99-115.
19. *Ibid*.

20. WAY Lyndon C.S., “Anti-Populist Populism: Musical Challenges to Trump’s America and Erdoğan’s Turkey”, *Popular Music*, vol. 41, n° 3, 2022, p. 387-404.

21. C-Span, “CPAC Conference,” March 4, 2023. https://www.c-span.org/video/?c5060238/pres-trump-i-justicei-retribution.

22. FRIDMAN, “Saagar Enjeti: Trump, MAGA, DOGE, Obama, FDR, JFK, History & Politics”, episode 454.

23. KITWANA Bakari, *The Hip Hop Generation: Young Blacks and the Crisis in African American Culture*, p. 211.

24. RIOS, “This is America”: *Race, Gender, and Politics in America’s Musical Landscape*, p. 81.

25. ROSE, *Black Noise: Rap Music and Black Culture in Contemporary America*, p. 119.

26. See WASHINGTON, “Hip-Hop and the White House”. A few examples of hip-hop’s influence mentioned in the documentary are Bill Clinton’s campaign, where he invited LL Cool J to his inauguration to perform; the League of Young Voters from a hip-hop convention that called for systemic change in US policies; US policies being influenced by rappers like Sister Souljah and Tupac Shakur; when Kanye West famously called out President George Bush for his slow response to Hurricane Katrina; among many others.

27. RIOS, “This is America”: *Race, Gender, and Politics in America’s Musical Landscape*, p. 114.

28. RIOS, “This is America”: *Race, Gender, and Politics in America’s Musical Landscape*; ROSE, *Black Noise: Rap Music and Black Cultural Resistance in Contemporary American Popular Culture*; and PERRY, *Prophets of the Hood: Politics and Poetics in Hip Hop*.

29. Wikipedia contributors. “Donald Trump in Music.” *Wikipedia, The Free Encyclopedia*. Last modified March 28, 2025. https://en.wikipedia.org/wiki/Donald_Trump_in_music#:~:text=Background-,Hip%20hop,alter%2Dego%2C%20Donald%20Tramp, accessed June 18, 2025.

30. JORDAN, “Obama’s iPod: Popular Music and the Perils of Postpolitical Populism”, p. 99-115; GORZELANY-MOSTAK, *Tracks on the Trail: Popular Music, Race, and the US Presidency*; WASHINGTON, “Hip-Hop and the White House”; PATCH, “Notes on Deconstructing the Populism: Music on the Campaign Trail, 2012 and 2016”, p. 365-401.

31. U.S. News & World Report, “Trump’s Rise Illustrates Anger and Anxiety in America”, September 11, 2015. https://www.usnews.com/news/the-report/articles/2015/09/11/trumps-rise-illustrates-anger-and-anxiety-in-america, accessed June 18, 2025.

32. RIOS, “This is America”: *Race, Gender, and Politics in America’s Musical Landscape*; ROSE, *Black Noise: Rap Music and Black Cultural Resistance in Contemporary American Popular Culture*; and PERRY, *Prophets of the Hood: Politics and Poetics in Hip Hop*.

33. BERO, “Why are Black Rappers Aligning Themselves with the Right?”.

34. ROSE Tricia, *The Hip Hop Wars: What We Talk About When We Talk About Hip Hop-and Why It Matters*, New York, Basic Books, 2008; WASHINGTON (dir.), “Hip-Hop and the White House”; PUTNAM and LITTLEJOHN, “National Socialism with Fler? German Hip Hop from the Right”, p. 453-468.

35. Because this article was written largely before the 2023 campaigns of Donald Trump and Kamala Harris, information on hip-hop's response to the 2024 election is left out of this corpus. However, for information on that period see GORZELANY-MOSTAK, *Tracks on the Trail: Popular Music, Race, and the US Presidency*.
36. MTV News, "Donald Trump Says He Would Vote for Eminem at the Shady National Convention", YouTube Video, 2:04, October 11, 2017, https://www.youtube.com/watch?v=SuSkOQsv9fg.

37. See songs like: Mosh, Rap Game, We as Americans, Campaign Speech, and many others.

38. Eminem references losing a third of his audience in his song "The Ringer" from his 2018 album *Kamikaze*. He raps "I'm watching my fan base shrink to thirds." This sentiment is reflected in record sales as his 2013 LP *The Marshall Mathers LP 2* sold over 8 million copies, and his subsequent *Revival* album (the album following his s017 BET Cypher) sold only around 2 million copies. See, Recording Industry Association of America, *Gold & Platinum: Eminem*, https://www.riaa.com/gold-platinum/?tab_active=default-award&ar=Eminem&ti=&format=Album&type=#searchzet, accessed May 5, 2025.

39. WAY, "Anti-Populist Populism: Musical Challenges to Trump's America and Erdoğan's Turkey, p. 387-404.

40. *Ibid*.

41. GRAY Bryson, "I'm Bryson Gray, Christian conservative rapper. Ask me anything," Reddit, 2022.

42. MATSON Erica, "Yes, MAGA Rap is Real and Trump Supporters Love It | Fringes", YouTube, April 23, 2023, https://www.youtube.com/watch?v=ucgu-Ooxy9c, accessed June 17, 2025; OWENS Tess, "Meet Forgiato Blow, the MAGA Rapper Who's Blowing Up", Vice, October 13, 2022, https://www.vice.com/en/article/maga-rapper-forgiato-blow/, accessed June 17, 2025.

43. WILLIAMS Justin A. (ed.), *The Cambridge Companion to Hip-hop*, Cambridge, Cambridge University Press, 2020.

44. Pew Research Center, "45% of Americans Say U.S. Should Be a 'Christian Nation'", *Pew Research Center*, October 27, 2022, https://www.pewresearch.org/religion/2022/10/27/45-of-americans-say-u-s-should-be-a-christian-nation/, accessed June 17, 2025.

45. MATSON Erica, "Yes, MAGA Rap is Real and Trump Supporters Love It | Fringes".

46. *Ibid*.

47. See PERRY, *Prophets of the Hood: Politics and Poetics in Hip Hop*, Chapter 7; ROSE, *The Hip Hop Wars: What We Talk About When We Talk About Hip Hop-and Why It Matters*; or WATKINS S. Craig, *Representing: Hip Hop Culture and the Production of Black Cinema*, Chicago, University of Chicago Press, 1998, Chapter 2, "Black Youth and the Ironies of Capitalism".

48. ROSE, *The Hip Hop Wars: What We Talk About When We Talk About Hip Hop-and Why It*, p. 24.

49. OWENS Tess, "Meet Forgiato Blow, the MAGA Rapper Who's Blowing Up", Vice, October 13, 2022, https://www.vice.com/en/article/maga-rapper-forgiato-blow/, accessed June 18, 2025.

50. GRAY Bryson, "Gun Totin' Patriot (Ft. Forgiato Blow) (Directed by Ghost) (Official Music Video)", YouTube video, 3:01, September 18, 2020, https://www.youtube.com/watch?v=ZPhdpk5Rd6A, accessed June 18, 2025.
51. In a Reddit AMA (ask me anything) Gray was asked “What role do you think rap and hip-hop can play in the modern conservative movement?” to which he replied: “If conservatives want to infiltrate culture, they need rap music. It’s pretty much common sense.” This quote and others on the page demonstrate Gray’s understanding of hip-hop’s place in American culture and politics. See GRAY Bryson, “I’m Bryson Gray, Christian conservative rapper. Ask me anything,” Reddit, 2022. https://www.re Institution, “Ben Shapiro Is a Rapper Now Because That’s What 2024 Deserves”, The Daily Beast, January 27, 2024, https://www.thedailybeast.com/ben-shapiro-is-a-rapper-now-because-thats-what-2024-deserves, accessed June 18, 2025.

52. **BARAGONA** Justin, “Ben Shapiro Is a Rapper Now Because That’s What 2024 Deserves”, The Daily Beast, January 27, 2024, https://www.thedailybeast.com/ben-shapiro-is-a-rapper-now-because-thats-what-2024-deserves, accessed June 18, 2025.

53. ULATOWSKI Rachel, “After Claiming Rap Isn’t Music, Ben Shapiro Raps in ‘Worst Song Ever Created’”, The Mary Sue, January 27, 2024, https://www.themarysue.com/after-claiming-rap-isnt-music-ben-shapiro-raps-in-worst-song-ever-created/, accessed June 18, 2025.

54. ST. CLAIR Grant, “Ben Shapiro Is a Rapper Now, Yes Really ”, Boing Boing, January 27, 2024, https://boingboing.net/2024/01/27/ben-shapiro-is-a-rapper-now-yes-really.html, accessed June 18, 2025.

55. GRIFFIN David, “Ben Shapiro Raps ‘Facts Don’t Care About Your Feelings’ in Viral Video”, Daily Dot, September 23, 2021, https://www.dailydot.com/debug/ben-shapiro-rap-facts-nic/, accessed June 18, 2025.

56. ROSE, *Black Noise: Rap Music and Black Cultural Resistance in Contemporary American Popular Culture*.

57. PATCH, “Notes on Deconstructing the Populism: Music on the Campaign Trail, 2012 and 2016”, p. 365-401; FORMAN Murray, NEAL Mark Anthony, and BRADLEY Regina N. (eds), *That’s the Joint!: The Hip-Hop Studies Reader*, New York, Routledge, 2024; see essays by WATKINS S. Craig, “Black Youth and the Ironies of Capitalism”, and WATTS Eric K., “An Exploration of Spectacular Consumption: Gangsta Rap as Cultural Commodity”.

58. KITWANA, *The Hip Hop Generation: Young Blacks and the Crisis in African American Culture*.

59. BERO, “Why are Black Rappers Aligning Themselves with the Right?”.

60. *New York Daily News*, “‘Snoop Dogg, Nelly, Others Defend Performing at Trump Inauguration”, January 21, 2025.

61. GORZELANY-MOSTAK, *Tracks on the Trail: Popular Music, Race, and the US Presidency*, Chapter 4, “Girls ‘Keep America Great’ Singing the White Stuff for Donald Trump.

62. *Firstpost*, “‘Thank You Elon Musk’: How Viral Song About Musk and His ‘Master Plan to Save Our Lives’ Has Divided the Internet”, March 27, 2025, https://www.firstpost.com/explainers/thank-you-elon-musk-viral-song-criticism-13874879.html, accessed June 18, 2025.
ABSTRACTS

This article explores the rise of “MAGA rappers” – hip-hop artists who align with Donald Trump’s political ideology – and examines how this subgenre reflects a broader cultural shift in U.S. politics and popular music. While hip-hop has traditionally served as a vehicle for progressive political activism and critique of the establishment, a growing faction of right-wing rappers have emerged, using the genre to express support for Trump-era populism and the “Make America Great Again” (MAGA) movement. Through case studies of two prominent artists, Bryson Gray and Tom MacDonald, this article analyzes the lyrics, production styles, and cultural messaging that define MAGA rap. Drawing on Adam Krims’ theory of hip-hop poetics and Ernesto Laclau’s theory of populism, the article frames MAGA as not merely a slogan, but a cultural and political identity built on an “us vs. them” binary. Using multimodal discourse analysis, the study reveals how these artists construct a populist, conservative identity that blends nationalism, Christian values, and anti-liberal rhetoric – repurposing the tools of hip-hop to express reactionary politics. The article also considers the commodification of MAGA culture through music and merchandise, arguing that this subgenre represents both a cultural backlash against perceived elitism and an entrepreneurial exploitation of right-wing populism. Ultimately, MAGA rap underscores the genre’s malleability and the evolving relationship between popular music and American political identity.

Cet article explore la montée des « rappeurs MAGA » – des artistes hip-hop qui s’alignent sur l’idéologie politique de Donald Trump – et examine comment ce sous-genre reflète un changement culturel plus large dans la politique et la musique populaire américaines. Alors que le hip-hop a traditionnellement servi de vecteur pour l’activisme politique progressiste et la critique de l’establishment, une fraction croissante de rappeurs de droite a émergé, utilisant le genre pour exprimer leur soutien au populisme de l’ère Trump et au mouvement « Make America Great Again » (MAGA). À travers des études de cas de deux artistes proéminents, Bryson Gray et Tom MacDonald, cet article analyse les paroles, les styles de production et les messages culturels qui définissent le rap MAGA. En s’appuyant sur la théorie de la poétique du hip-hop d’Adam Krims et la théorie du populisme d’Ernesto Laclau, l’article conçoit MAGA non seulement comme un slogan, mais comme une identité culturelle et politique fondée sur une dichotomie « nous contre eux ». Grâce à une analyse du discours multimodale, l’étude révèle comment ces artistes construisent une identité populiste et conservatrice qui mêle nationalismisme, valeurs chrétiennes et rhétorique antilibérale – réutilisant les outils du hip-hop pour exprimer une politique réactionnaire. L’article examine également la marchandisation de la culture MAGA à travers la musique et les produits dérivés, affirmant que ce sous-genre représente à la fois un contrecoup culturel contre l’élitisme perçu et une exploitation entrepreneuriale du populisme de droite. Finalement, le rap MAGA met en lumière la malléabilité du genre et l’évolution du lien entre musique populaire et identité politique américaine.
# INDEX

**Mots-clés:** MAGA rap, Populisme de droite, Hip-Hop et politique, Donald Trump, Identité populiste, Analyse du discours multimodale, Bryson Gray, Tom MacDonald

**Keywords:** MAGA rap, Populism of the Right, Hip-Hop and Politics, Donald Trump, Populist Identity, Multimodal Discourse Analysis, Bryson Gray, Tom MacDonald

# AUTHOR

## MATTHEW ANDERSON

Matthew Anderson holds a PhD in Musicology (University of Kansas, August 2025). His research focuses on the symphonies of Howard Hanson and the construction of American identity. He also explores hip-hop, with interests ranging from the “MAGA” rap movement to the work of artists like Nujabes and Kendrick Lamar. Through his scholarship, Matt seeks to bridge classical and contemporary music, fostering deeper conversations about identity across musical genres.