El Paso Musician Criticizes Border Patrol for Using Song in Promotional Video

Border Patrol’s promotional content has sparked controversy in El Paso’s music community, as local musician Jordan Williams recently took to social media to condemn the agency’s unauthorized use of his song in what he described as a “propaganda” video.

Williams, who performs under the name Frythm, discovered that U.S. Customs and Border Protection (CBP) had featured his track “Breakthrough” in a recruitment video without obtaining permission or providing compensation. The musician expressed his frustration in a post that quickly gained traction among local artists and immigration advocates.

“I was shocked to see my work being used to promote an agency whose practices I fundamentally disagree with,” Williams told reporters. “As an El Paso native, I’ve witnessed firsthand how Border Patrol policies affect our community, and I never consented to having my art associated with their message.”

The video in question appeared on CBP’s official social media channels and featured scenes of agents patrolling the southern border, interspersed with training montages and ceremonial events. Williams’ electronic instrumental track played prominently throughout, creating an upbeat backdrop for the recruitment pitch.

This incident highlights the growing tension between federal agencies operating along the U.S.-Mexico border and the predominantly Hispanic communities they serve. El Paso, situated directly across from Ciudad Juárez, Mexico, has long been at the center of national immigration debates and border enforcement policies.

Legal experts note that Williams likely has grounds for a copyright infringement claim. Entertainment attorney Elena Ramirez explained, “Federal agencies, just like any other entity, must secure proper licensing for commercial music use. There are specific procedures for government bodies to license music, and it appears those weren’t followed in this case.”

CBP representatives responded to initial inquiries with a statement saying they are “looking into the matter” and that they “respect intellectual property rights.” The agency has since removed the video from their primary platforms, though copies continue to circulate online.

Williams’ stance has resonated with many in El Paso’s vibrant arts scene, where creative expression often intersects with political consciousness. Fellow musician Roberto Mendez of the band Frontera Bugalú voiced support: “What happened to Jordan is unfortunately common. Our border community’s culture gets appropriated while the real issues facing our region are glossed over.”

This controversy emerges amid increased scrutiny of Border Patrol tactics and messaging. In recent years, the agency has ramped up recruitment efforts as it faces staffing challenges and high turnover rates. Marketing campaigns have become more sophisticated, utilizing social media and contemporary aesthetics to appeal to younger potential recruits.

Community organizers like Maria Gonzalez from the Border Network for Human Rights see this incident as symptomatic of broader concerns: “There’s a disconnect between how these agencies present themselves and how their actions impact border communities. Using local art without permission while implementing policies many locals oppose shows a fundamental disrespect.”

Williams has consulted with legal representation regarding his options but says his primary goal is raising awareness. “This isn’t just about my music being used without permission. It’s about an agency co-opting art from the very communities affected by their enforcement actions,” he said.

The musician has received an outpouring of support on social media, with fans and fellow artists encouraging him to pursue legal action. Some have even suggested organizing a benefit concert to raise funds for immigrant rights organizations in response.

For Border Patrol, this mishap represents a setback in their efforts to improve community relations in border regions like El Paso, where trust between residents and federal law enforcement has been strained by controversial policies and increased militarization.

As Williams considers his next steps, the incident serves as a reminder of the complex relationship between art, politics, and representation in border communities. It also underscores how social media has empowered artists to control their work’s context and association, even when confronting powerful government agencies.