Musical composition and performance are perhaps two of the most effective vessels for the indication of political support or dissent by private citizens. Consider the late 1960s, when groups and musicians like Jefferson Airplane or Bob Dylan wrote music that challenged the Vietnam War and political establishment. As evidenced by the festivals, riots and protests of that decade, not only does music spread awareness about a particular cause, but it also forms immeasurable solidarity among its listeners. Yet, what happens when musical choice and expression extends itself to public officials? Politicians, by the nature of their existence, must find ways to connect with their constituents.