Aimee Mann, a celebrated singer-songwriter, ventured into the political sphere with her song “Can’t You Tell,” released as part of Dave Eggers’ “30 Days, 30 Songs” project leading up to the 2016 US election. This project aimed to create a soundtrack of protest against Donald Trump’s presidential campaign. However, Mann’s contribution was unique: she chose to write from Trump’s perspective, a decision that sparked conversation and provided a distinctive lens through which to view the then-candidate.
In an interview on Slate’s Trumpcast podcast, Mann discussed the motivations and creative process behind “Can’t You Tell.” The song, while born from an anti-Trump initiative, delves into the potential psyche of Donald Trump, imagining his internal anxieties and doubts about the presidential race.
Mann explained the initial concept of the “30 Days, 30 Songs” project was somewhat satirical – to provide Donald Trump with songs he could use at rallies, given his penchant for using unlicensed Rolling Stones tracks. This quickly evolved into a platform for artists to express their opposition to Trump’s candidacy. For Mann, the assignment became an opportunity to explore a less conventional approach.
Instead of directly criticizing Trump from an outsider’s perspective, Mann opted for an empathetic, albeit critical, portrayal from within. She admitted that writing in the first person, from Trump’s imagined viewpoint, was a more natural fit for her songwriting style. This approach, while potentially risky in humanizing a divisive figure, offered a compelling way to explore the anxieties she perceived in Trump’s public persona.
Aimee Mann performing on stage
The core idea of “Can’t You Tell,” as Mann articulated, is the notion that Donald Trump was, and perhaps is, “in over his head.” She expressed a genuine belief that the intricacies of the presidential role, with its focus on policy and governance, were fundamentally misaligned with Trump’s ambitions and interests. Mann speculated that Trump’s pursuit was less about public service and more about a desire for a symbolic, almost monarchical, position. She envisioned him thinking of the presidency as a grand title and lifestyle, detached from the actual responsibilities of leadership, assuming he could simply delegate the complexities to others.
Mann further elaborated on her perception of Trump’s state of mind during the 2016 campaign. She described him as feeling trapped and overwhelmed, comparing him to a “rat in a corner,” resorting to aggressive and frantic tactics as a defense mechanism. This sense of internal turmoil and unpreparedness is encapsulated in the song’s chorus: “Isn’t anybody going to stop me?/ I don’t want this job./ I don’t want this job./ My God, can’t you tell/ I’m unwell?”
This chorus, Mann explained, emerged organically from her exploration of Trump’s potential inner thoughts. It reflects a sentiment of being overwhelmed and perhaps unsuited for the immense pressure of the presidency, despite outwardly projecting confidence and bravado.
The interview also touched upon the 2011 White House Correspondents’ Dinner, an event Mann referenced in the song’s opening. The interviewer, who was present at the dinner, corroborated the scene of Trump’s visibly negative reaction to President Obama’s comedic roasting. This public humiliation, according to Mann and the interviewer’s observation, seemed to deeply affect Trump, possibly fueling his subsequent political aspirations as a form of retaliation.
Mann connected Trump’s reaction to the concept of narcissism, suggesting that individuals with narcissistic traits often equate their self-worth with external validation and appearances. For them, public mockery or criticism can be profoundly destabilizing, as it punctures their carefully constructed self-image. The 2011 dinner, in this view, might have been a pivotal moment where Trump’s inability to laugh at himself publicly revealed a deeper vulnerability and triggered a “I’ll show you all” mentality.
The conversation then shifted to the clinical aspects of Narcissistic Personality Disorder (NPD), a topic previously discussed on Trumpcast. Mann and the interviewer acknowledged the challenges in diagnosing and treating NPD, particularly the lack of self-awareness often associated with the disorder. They discussed how wealth and power can further insulate individuals with NPD from facing the consequences of their behavior, as dissenting voices are easily silenced or dismissed.
However, despite acknowledging the potential psychological underpinnings of Trump’s behavior, Mann emphasized the element of choice and responsibility. While recognizing the possibility of compulsive tendencies, particularly in light of theAccess Hollywood tape, she framed Trump’s actions as a series of “bad choices.” She pointed out that even after the tape’s release, Trump’s inability to express genuine remorse or take responsibility for his words and actions underscored a pattern of avoiding accountability.
Donald Trump at a rally
In conclusion, Aimee Mann’s “Can’t You Tell” offers a unique and introspective commentary on Donald Trump’s persona during his 2016 presidential campaign. Through the song, and her subsequent interview, Mann invites listeners to consider the potential internal struggles and motivations of a figure often viewed through a purely political lens. By choosing to write from Trump’s perspective, she created a song that is not just a political statement, but also a psychological exploration, prompting reflection on the complexities of ambition, narcissism, and the human condition within the high-stakes world of presidential politics. “Can’t You Tell,” therefore, remains a noteworthy example of how music can engage with political discourse in nuanced and thought-provoking ways, going beyond simple protest to explore the inner landscape of public figures.
