Summary

The folk song “The Inauguration” by Jesse Welles critiques the rise of corporate oligarchy and the manipulation of public perception through distraction, division, and hate. With references to Elon Musk, Meta, Amazon, TikTok, Tesla, and the use of executive power, the song paints a grim picture of technocratic fascism in modern society. Drawing from political theory, social philosophy, and critical theory, this article explores the song’s themes of corporate influence, authoritarianism, and social fragmentation, and considers the ethical implications of these dynamics in contemporary politics.

Corporate Oligarchy and Technocratic Fascism

The first verse of the song introduces a world dominated by corporate oligarchs and tech moguls, with specific mentions of figures like Elon Musk and the imagery of “Nazi salutes”. This reflects a growing concern in political theory about the fusion of corporate and governmental power, often referred to as technocratic fascism. The rise of oligarchs like Musk, who are seen as leveraging both their wealth and technological influence to shape public policy, raises questions about the limits of corporate power and the potential for authoritarian control.

Political Theory & Fascism:

The connection to fascism is particularly important here, as the term is often used to describe systems where corporate power, military power, and state authority coalesce into a single governing force. In his “The Authoritarian Personality”, Theodor Adorno examines how individuals within modern capitalist societies may become susceptible to authoritarian ideologies. The idea of “technocratic fascism” draws on Hannah Arendt’s theory of totalitarianism in The Origins of Totalitarianism, which describes the ways in which totalitarian movements exploit technology and propaganda to consolidate power and manipulate mass consciousness.

Key Academic Sources:

• The Origins of Totalitarianism by Hannah Arendt
• The Authoritarian Personality by Theodor Adorno
• The Technological Society by Jacques Ellul

The Rise of Corporate Giants and Their Influence on Society

In the second verse, Welles references the rise of global corporations such as Meta, Apple, Amazon, and Tesla, noting that “It takes a mountain of bodies just to climb that high.” This metaphor touches on the exploitation required to sustain corporate empires. The song critiques how these companies, driven by the logic of capitalism, prioritize profit maximization over the well-being of individuals or communities. The emergence of “quasian plastic, technocratic fascists” as corporate overlords ties directly into Marxist theories of capital accumulation and the alienation of labor.

Karl Marx argued that capitalist systems inherently exploit workers to fuel the wealth of the elite. Additionally, Herbert Marcuse’s concept of the “one-dimensional man” speaks to how the system works to reduce individuals to mere cogs in the machine, perpetuating inequality while pacifying any attempts at resistance.

Key Academic Sources:

• Capital by Karl Marx
• One-Dimensional Man by Herbert Marcuse
• The End of History and the Last Man by Francis Fukuyama

The Smoke Bomb of Distraction: Executive Power and Division

The third verse of the song addresses how the elites use distraction (the “smoke bomb”) and executive actions to divert public attention from deeper issues. This theme echoes concerns in political philosophy regarding the centralization of executive power. Scholars have critiqued how executive orders, often enacted in times of crisis, allow leaders to bypass democratic processes and push through controversial policies. The resulting political division serves to prevent collective action, maintaining control by ensuring the public remains fragmented.

The song’s assertion that “they need you divided, not agreeing on nothing” reflects the strategic use of division by those in power, an idea also found in Antonio Gramsci’s theory of hegemony. Gramsci argued that ruling classes maintain their dominance not just through force, but by promoting division among the working classes and manufacturing consent through culture and ideology.

Key Academic Sources:

• The Prison Notebooks by Antonio Gramsci
• The Executive Unbound by Eric A. Posner & Adrian Vermeule
• Hegemony and Socialist Strategy by Ernesto Laclau and Chantal Mouffe

Greed, Hate, and the Commodification of Emotion

“Hate is a poison but it’s making ‘em money” is a powerful line in the song, suggesting that division and hate have become commodities in the media landscape. The monetization of hate and fear is a common critique in critical media theory, particularly in the works of Noam Chomsky and Edward Herman. In Manufacturing Consent, they argue that mainstream media outlets serve corporate interests by sensationalizing division and conflict, thus driving profit while stoking societal tensions.

The song also touches on the way emotionally charged rhetoric is used to control public opinion. The “greed machine” is a metaphor for how capitalism exploits human emotions, such as fear, resentment, and hatred, to maintain its hold over the masses. This aligns with Michel Foucault’s ideas about power and social control through discourse.

Key Academic Sources:

• Manufacturing Consent by Noam Chomsky and Edward Herman
• Discipline and Punish by Michel Foucault
• The Culture Industry by Theodor Adorno and Max Horkheimer

Moral Resistance: Standing Up Against Injustice

Finally, the song ends with a call to action: “It takes balls to stand up and be like Bishop Budde”, referencing the real-life example of Bishop Mariann Budde, who took a strong public stance against injustice. This highlights the importance of moral resistance and ethical leadership in the face of systemic corruption and oppression. Existentialist philosophy, especially the works of Jean-Paul Sartre and Simone de Beauvoir, speaks to the necessity of authentic resistance to unjust systems, emphasizing the moral responsibility of individuals to stand up against societal wrongs, even in the face of overwhelming power.

Key Academic Sources:

• Being and Nothingness by Jean-Paul Sartre
• The Ethics of Ambiguity by Simone de Beauvoir
• The Politics of Virtue by David M. Rosen

Conclusion

Jesse Welles’ folk song “The Inauguration” serves as a poignant critique of the intersection of corporate power, technocracy, and authoritarianism. By weaving in references to modern corporate giants like Elon Musk and Meta, the song underscores the ways in which powerful elites manipulate the public through distraction, division, and emotional exploitation. Through the lens of political theory, critical media studies, and ethics, we can better understand how these dynamics shape contemporary society—and what it might take for individuals to resist and challenge these forces.