Amidst President Trump’s impeachment hearings, a new protest song is making the rounds online. Except this one sounds more like a festive, satirical and catchy tune; rather than a political critique. Just last week, Neon Indian dropped his first song in Spanish “Toyota Man” after four years of not releasing any new music. The pro-immigration anthem references classics like Selena’s “Bidi Bidi Bom Bom” and Miley Cyrus’s “Party in the U.S.A.” The song talks about migrant laborers, the American dream, and DACA recipients in a catchy and witty way. 

Alan Palomo aka Neon Indian dropped his new single last week, “Toyota Man,” with a self-directed video that tells his immigration story. 

Palomo’s video for “Toyota Man” opens with himself standing at the U.S.-Mexico border flipping through cue cards. “Llegamos al apartamento cuatro de un tío después que cruzamos el río en Reynosa.”  Born in Monterrey, Mexico, the Chillwave singer tells the story of his crossing the border through Reynosa on to San Antonio and Austin. Once in ‘el otro lado’ he gets hired to wash Toyota trucks. The musician takes a rag to a red vehicle in what could be an ode to American underground experimental filmmaker, Kenneth Anger’s “Kustom Kar Kommandos,” 

Fiestas, piñatas, tacos, and abuelas, the satirical video is all about representing Alan Palomo’s Mexican culture.

Credit: Neon Indian / YouTube

At a backyard party featuring the classic taquiza and piñatas, a  Trump-shaped piñata comes to life and makes a run for it. The 45th president  duels with an abuela, and gets chased by children to the sound of the chorus “Venimos a estudiar, queremos trabajar, y aunque lo quieran negar, todos somos Americanos” Spanish for “we come to study, we want to work and even if they want to deny it, we’re all American.” There’s also a puppet show about migrant labor, a cowboy giving birth to cars and a lot more weird stuff going on before the Trump-ñata gets hits by a car and spills green cards all over the road.

The pro-immigrant anthem speaks to the American dream.

Credit: alan_palomo / Instagram

Palomo calls out Uncle Sam for all the obstacles the U.S. government has put in place to ensure that immigrants find it hard to achieve success and stability. He talks about citizenship trials, labor rights violations, ’Aquí tu no cuentas igual,’ he sings. “Though my music has always been generally apolitical,” Alan Palomo said in a statement to Pitchfork, “I realized when recording this song that it was impossible to write biographically (in the rhetorical context of the Trump administration) without being entirely that: political. The story of my family, which before felt commonly American, was suddenly politicized.”

Palomo’s first song in Spanish, “Toyota Man” takes from a variety of both Mexican and American classic tunes.

Credit: alan_palomo / Instagram

The beat of the Mexican folk song “La Cucaracha,” plays in the riff of ‘Toyota Man’. Palomo mentions “The Star-Spangled Banner,” Selena’s “Bidi Bidi Bom Bom” and Miley Cyrus’s “Party in the U.S.A.” “Te tienes que aguantar hasta que no te puedan deportar, asi es este party in the U.S.A.”

But above all, ‘Toyota Man’ is a satirical pro-immigration Latino song.

Credit: alan_palomo / Instagram

“Recognizing the absurdity of it all,” said Palomo in a statement, “I thought it would be refreshing to address the social narrative around immigration through comedy — nods to Benny Hill, misremembered San Antonio car commercials, and School House Rock. My family and I had a ton of fun making this and I hope it’s equally as fun to watch.”

“Toyota Man” is Neon Indian’s first track since his 2015 album.

Credit: alan_palomo / Instagram

The track is Palomo’s first new single since his 2015 album, “VEGA INTL. Night School” and his all-star Prince tribute in 2016. The tone and sound of his new song “Toyota Man,” hints at a new direction for the indie-rock artist. He’s talked about singing in his native language for a while, and if this track is any indication, perhaps we can expect more personal, political works from Neon Indian, and hopefully, a new album is in the works.

Neon Indian is nearing the end of a fall U.S. tour that wraps up on Nov. 29 in Salt Lake City, Utah.

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On November 12th, Disney launched its much-anticipated streaming service Disney+, a platform that offers over 7,000 television episodes and 500 films of Disney titles to its subscribers. And while the influx of beloved Disney content is exciting, some Disney fans can’t help but cringe at the outdated, stereotypical tropes that some of the House of Mouse’s older content employed. And while racist tropes and offensive stereotypes were par for the course decades ago, we are now living in a world where sensitive cultural representation in the media is of the utmost importance. 

Aware of people’s lowered tolerance for racism in their entertainment, Disney+ has issued content warnings on some of their titles. The warning reads: “This program is presented as originally created. It may contain outdated cultural depictions”. And while some are applauding Disney for acknowledging the problematic nature of some of their content, others don’t think that a mere content warning is enough. Others are calling for Disney to make a greater effort to reckon with their problematic legacy. In light of these development, here are seven of the most racist moments in Disney movies that you can look out for when deciding on your next Disney+ viewing.

1. The Siamese Cats in “Lady and the Tramp”

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When “Lady and the Tramp” was released in 1955, it wasn’t unusual for the entertainment industry to create characters based on offensive stereotypes of what they believed people of Asian descent acted like. One of the most offensive instances of this were there characters “Si” and “Am” in “Lady and the Tramp”–two mischievous and troublesome cats who come into Lady’s home and make a mess, which Lady is ultimately blamed for. It doesn’t help that the cats are illustrated with slanted eyes and sing with broken accents. 

2. Everything about “Song of the South”

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Probably the most offensive and problematic of all Disney movies, “Song of the South” was released in 1946. It follows the story of a young boy who befriends Uncle Remus, a former slave who teaches him about life through a series of fables. The movie is upsetting for many reasons, one of which is the way the movie expresses nostalgia for the pre-Civil War way of life–which even the movie’s black characters seem to long for. The song “Song of the South” is the perfect example of this, where a black choir sings, “This heart of mine is in the heart of Dixie. That’s where I belong”. 

3. The Crows in “Dumbo”

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The crows in “Dumbo” are a play on blackface minstrel characters that much of the American audience would’ve been familiar with at the time of “Dumbo”‘s release in 1941. To add insult to injury, the character of Jim Crow (yes, that’s actually his name), was voiced by white actor Cliff Edwards, voicing an exaggerated version of a stereotypical black Southern voice. In “Dumbo”, Jim is depicted as lazy, dumb, and indulgent. This offensive stereotype of black people was well-known in the South. 

4. Sunflower in “Fantasia”

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In the original “Fantasia” released in 1940, the movie features a little black character named Sunflower. Sunflower was a black little girl with the body of a donkey. She was drawn with dark skin, an over-exaggerated nose and lips and braids in her hair. From her brief appearance in the movie, her apparent purpose in life was to help the glamorous white centaurs with their beauty routine (she was shown as filing the nails of a centaur). In later version, her character was cropped out completely of the movie to avoid a public outcry. 

5. “What Makes a Red Man Red?” in “Peter Pan”

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The racism inherent in “Peter Pan” is laid out plainly in the song “What Makes a Red Man Red?” that Neverland’s tribe of Native Americans sings to explain their history to the Lost Boys. The song is meant to be the origin story of how Native Americans got their skin color. The lyrics are as follows: “Let’s go back a million years/To the very first Injun prince/He kissed a maid and start to blush/And we’ve all been blushin’ since”. 

6. “Arabian Nights” in “Aladdin”

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Critics of “Aladdin” have long called the movie problematic for the way it depicts people of Middle Eastern descent and how it fails to illustrate the differences between various Middle Eastern cultures. Instead, the Kingdom of Agraba is a mish-mash of various cultures of the Middle East which implies that the cultures are interchangeable. And don’t forget the most problematic pat of the movie, the song “Arabian Nights” that contains the following lyrics: “I come from a land…Where they cut off your ear if they don’t like your face. It’s barbaric, but hey, it’s home”.

7. Shun Gon in “The Aristocats”

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The Chinese cat Shun Gon in “The Aristocats” is another prime example of a racist character that Disney employed in their earlier movies. Shun Gon is a member of O’Malley the Alley Cat’s street gang. He speaks in broken English, has slanted eyes and prominent teeth, and plays the piano with chopsticks. In other words, it doesn’t get more offensive that this.