You Oughta Vote

05.05.14

Alanis Morissette Composes Song For California Candidate

Canadian pop singer Alanis Morissette composed a campaign song for self-help guru Marianne Williamson who is running for Congress in California.

As campaign songs go, it’s not “Happy Days Are Here Again” or even “Charles Barron for Congress,” but Alanis Morissette’s campaign song for Marianne Williamson, a self-help guru and independent congressional candidate in California, has gotten attention. After all, how often does a Grammy Award-winner best known for some of the weirdest mixed metaphors in popular music get to share her gift for arranging verbs and nouns in such peculiar combinations on behalf of a political candidate?

Williamson, though, isn’t really a normal political candidate. A self-help guru running on her belief that “the wisdom of the heart is the one thing most lacking in politics today,” she is backed by celebrity endorsers including Nicole Richie, Eva Longoria and Jane Lynch, as well as former Minnesota Governor Jesse Ventura and two-time Democratic presidential candidate Dennis Kucinich in a nonpartisan primary for the congressional seat in Los Angeles and Beverly Hills being vacated by retiring Democrat Henry Waxman. 

In the campaign for this safe Democratic district, Williamson is facing a highly competitive field including former Los Angeles mayoral candidate Wendy Greuel, State Senator Ted Lieu, and centrist pundit and former Clinton administration staffer Matt Miller. By embracing Morissette’s backing, the self-help guru seems to be embracing her role is the New Age celebrity candidate in the field, which is a good match for her campaign.

After all, Williamson is not exactly an experienced pol and, with campaign statements like this, “Abolition didn’t come from a major party; it emerged from the Abolitionist Party. Women’s Suffrage didn’t come from a major party; it emerged from the Suffragette Party. Social Security didn’t come from a major party; it emerged from the Socialist Party,” she’s not exactly poised to win the votes of many historians either—unless, of course, they specialize in Canadian popular music of the 1990s.