Culture

Trump closing Kennedy Center was 'complete surprise' even to his handpicked board: report

The Daily Beast's "The Swamp" newsletter reports Trump’s announcement of the closure of the John F. Kennedy Center for the Performing Arts was a surprise to everyone — including the people in charge of it.

“Well-placed sources have told The Swamp that Trump’s decision blindsided nearly everyone involved — including, awkwardly, [Interim Executive Director/President] Ric Grenell and his inner circle,” the Beast reported.

“It cannot be overstated the degree to which this came as a complete surprise to everybody in the organization, including the office of the president,” one insider said of Grenell, who replaced long-time president Deborah Rutter after Trump fired her last year.

“Painfully low ticket sales” were already forcing the cancellation of singer-songwriter Ben Rector’s upcoming Kennedy Center as well as the National Symphony Orchestra’s “American Promise” show. But Trump’s unexpected closure announcement, coupled with numerous cancellations either due to outrage of the center’s clumsy new name or poor did nothing for “Grenell’s optics.”

“On Monday night, the Kennedy Center’s social account posted a photo of [Grenell] striding through Capitol Hill (in what appeared to be red-soled Louboutin shoes) to ‘discuss responsible use of taxpayer dollars to renovate the Kennedy Center.’” The image landed less as reassurance than as performance art — one man power-walking through Congress while the institution he oversees hemorrhages artists, audiences, cultural significance, and credibility,” the Beast reported.

Meanwhile anonymous sources tell the Beast that the shutdown was seen by those inside the institution as an effort to “control the narrative.”

“But that narrative is slipping fast,” reported the Beast. “Artists are pulling out of contracts. New shows are refusing to book. Ticket buyers are staying home. And staff morale, already fragile, is sinking further as uncertainty spreads.

Other sources say the closure was also a move to bust the professional labor unions at the Kennedy Center, which are heading into negotiations this spring and summer.

“New management has made little effort to hide its disdain for unions, labor costs, and regulatory constraints. The goal, insiders say, is a shift toward a more ‘commercial model’ — a phrase that tends to translate as fewer protections, cheaper labor, and more pliable workers,” according to the Beast.

Trump facing 'massive backlash' against 'hard-edged right-wing culture'

President Donald Trump drew widespread criticism after forwarding, on his Truth Social platform, an overtly racist, AI-generated video depicting former President Barack Obama and former First Lady Michelle Obama as apes. Much of the criticism came from a combination of liberals, progressives, centrist Democrats and right-wing Never Trump conservatives, yet there was some outcry in MAGA World as well.

Sen. Tim Scott (R-South Carolina) called the video out, and a frustrated 2024 Trump voter from New Mexico called C-SPAN and lamented, "I voted for the president; I supported him. But I really want to apologize. I mean, I'm looking at this awful picture of the Obamas. What an embarrassment to our country. All this man does is tell lies. He is not worthy of the presidency. He takes bribes blatantly, and now he’s being a racist blatantly."

A few days after that, Puerto Rican reggaetón star Bad Bunny performed en español at the 2026 Super Bowl Half Time Show — much to Trump's chagrin — and the event enjoyed way more viewers than Turning Point USA's alternative halftime show, headlined by Kid Rock. According to CBS News, 135 million viewers watched Bad Bunny; the El Paso Times reports that 6.1 million people watched Turning Point's event.

During a conversation for The New Republic's podcast posted on February 9, host Greg Sargent (formerly of the Washington Post) and NR reporter Alex Shephard stressed that between the "backlash" to the racist video and all the viewers who watched Bad Bunny, it's obvious that many Americans are rejecting MAGA's view of the world.

Shephard told Sargent, "I think that one of the big shifts is that there was this idea in the last election — 'Let Trump be Trump' — sort of pushed by Susie Wiles in particular, currently the chief of staff. That, essentially, the president knows best and that what he's doing may seem kooky and off the wall and irrelevant to politics as usual — but pursuing that kind of stuff is what people like about him, and you should just let him do it…. I think what we’re starting to see now is an increased willingness for politicians to call this kind of stuff out."

Shephard argued, however, that even with the "backlash," Trump is still going to say and do offensive things.

Shephard told Sargent, "I think that we're not even close to seeing the bottom here yet, but it's really, really starting to break…. But the truth of the matter is that if they go anywhere, they're met with massive public resistance and backlash. You see it at the Grammys. You see it at the Super Bowl. You see it in the streets of Minneapolis. You see it all over the country. And I think there was this brief moment where it seemed like we were entering into a kind of 'new era' defined by hard-edged, right-wing culture, and that everything had changed. And all of that power that they had a year ago? It's just already gone now."

Kid Rock is two decades past his peak — and his fame pales compared to Bad Bunny

Forbes Magazine reports Turning Point USA’s choice of country-rapper Kid Rock to perform at an alternative halftime show during the Super Bowl was two decades too late.

Conservative organization Turning Point is looking to build a halftime home for frustrated Trump voters riled at the idea of Spanish-speaking U.S. citizen Bad Bunny headlining the NFL show. But Kid Rock, whose real name is Robert James Ritchie, isn’t likely to hit with many people under the age of 40.

“Bad Bunny has far more career streams in the United States — 26.8 billion, compared to 4.9 billion by Kid Rock — and many more globally,” reports Forbes. “He was Spotify’s top artist globally of 2025, ranking No. 5 in the United States, while Billboard named his Grammy-winning album “Debí Tirar Más Fotos” the eighth-biggest album of 2025. Bad Bunny has charted 113 songs on the Hot 100, including three top 10 hits last year.”

The MAGA-branded Kid Rock, meanwhile, hasn’t had a song on the Hot 100 chart in more than a decade, when “First Kiss” hit No. 66 in 2015. And he hasn’t had a top 10 single since 2002. His last album, “Bad Reputation,” peaked at No. 124 at release in 2022 — and it toppled from the chart one week later, marking the worst-performing studio album of his career, reports Forbes.

Turning Point USA, led by Erika Kirk — the widow of late cofounder Charlie Kirk — announced Kid Rock in its “All-American Halftime Show,” lineup somewhat late in the process, suggesting that building the lineup was no easy feat. Other performers include country singer Brantley Gilbert, Grammy nominated singer Lee Brice and country singer Gabby Barrett, which critics have described as a troupe with minimal recognition.

But the NFL is likely to stick to its guns on its decision enflaming the MAGA world.

In 2024, NFL games accounted for 70 percent of the most-watched U.S. telecasts, according to MS NOW. That means there may be no more room for the league to expand domestically. With that in mind, NFL leaders are likely looking to expand viewership beyond the America-only MAGA crowd.

“The league needs new audiences,” reports MS NOW, “and nobody’s better positioned to attract a global audience than Bad Bunny.”

“NFL Commissioner Roger Goodell defended booking Bad Bunny both after his Grammys speech and after the choice had sparked backlash,” reports Forbes. “Goodell called Bad Bunny ‘one of the great artists in the world’ earlier this week, saying he understands his ‘platform is used to unite people and to be able to bring people together.’”

MAGA's Super Bowl halftime show will likely be a 'slow-motion train wreck': music editor

Phoenix New Times Music Editor Amy Young says far-right Turning Point USA was “groping” for artists to fill its so-called “All-American” halftime show, designed to counter the “darker-skinned” Bad Bunny Super Bowl halftime show on Sunday.

“Announcing a big ol’ cynical show is one thing. It’s a very different task, however, to find artists who want to be the face of such a stunt,” said Young, adding that the organization finally settled on “Detroit’s claim of shame, Robert Ritchie, better known as Kid Rock.”

“No one is particularly shocked to see Confederate-flag-waving Kid Rock lead this charge,” said Young. “Opening for the rapper-turned-country-rocker that night will be another country artist, Brantley Gilbert, and then another country artist, Gabby Barrett, and, wait, we’re seeing a theme, right? Next up … um, country artist, Lee Brice.”

“… [I]f you find yourself asking ‘who?’ a couple of times, you might be residing at Camp You’re Not Alone, where TVs will be blaring the sets by actually popular, equally American musical acts Green Day and Bad Bunny,” Young added.

Young pointed out that TPUSA didn’t care when the National Football League hosted a legion of foreigners including British quartet Coldplay, Barbados citizen Rihanna, Canadian sensation The Weeknd, or Ireland’s U2. But when the it announced the appearance of Benito Antonio Martínez Ocasio, a.k.a. Bad Bunny, the MAGA’s backlash was ferocious. Bad Bunny raps primarily in Spanish, which “monolingual MAGA” apparently considers “a threat to ‘mericuh,” said Young.

It doesn’t matter that the 56 million Americans who speak Spanish make the United States the world’s second-largest Spanish-speaking country after Mexico. Nor does it apparently matter that Bad Bunny is a U.S. citizen.

“The willful misunderstanding of the fact that Puerto Ricans are indeed U.S. citizens demonstrates once again that MAGA acolytes interpret history and the law about as faithfully as they interpret the New Testament,” said Young. “From jump, Turning Point USA has had its milky sheets in a twist about the choice of Bad Bunny. The slow-motion train wreck it’s running this week is reminiscent of alleged comedian Tony Hinchcliffe describing Puerto Rico as a ‘floating island of garbage’ at a Trump rally, a full-speed train wreck.”

“You may be wondering how to watch this soon-to-be-failed-attempt at a ratings grab. Well, you can probably track down that information yourself, if you’re morbidly curious,” Young said. “Usually we like to provide viewing information. In this case, we genuinely DGAF.”

Trump skipping Super Bowl because he's afraid of getting booed: report

President Donald Trump won't be in attendance at the biggest sporting event in the United States this year. And according to a new report, he's skipping out over fears that he may be booed by tens of thousands of people.

On Tuesday, Zeteo's Asawin Suebsaeng and Andrew Perez reported that one unnamed White House official feared Trump would get booed "big league" at Super Bowl LX in Santa Clara, California (the home stadium of the San Francisco 49ers). Suebsaeng and Perez wrote that Trump's advisors feared a wave of boos at the Super Bowl "would instantly create a wealth of viral video clips and media coverage that administration officials would prefer to avoid."

"[Booing is] another thing we don’t want right now," one Trump advisor anonymously confided to Zeteo.

The president has also reportedly complained that this year's Super Bowl is too "woke." He is particularly upset about Grammy-winning artist Bad Bunny headlining this year's halftime show, and rock band Green Day (whose frontman, Billie Joe Armstrong, is an outspoken critic of Trump) also performing.

"There was a time when the Super Bowl was neutral territory for presidents. That line has blurred – even disappeared," former Fox News host Eric Bolling told Zeteo. "In today’s politically polarized America, location can matter more than the event itself. This looks like a strategic decision, not a snub or a controversy."

Suebsaeng and Perez noted that Trump's polling has slid noticeably downward since his mixed reception of cheers and boos at last year's Super Bowl in New Orleans, Louisiana. The president was also met with both applause and jeers last month in Miami, Florida when he attended the College Football Playoff championship game between the University of Indiana and the University of Miami. And when Trump attended a regular season NFL game between the Detroit Lions and the Washington Commanders, the crowd could be heard viciously booing him for several minutes.

Trump reportedly being sensitive about negative crowd response may also stem from an appearance last year at the Kennedy Center for the Performing Arts. In June of 2025, both the president and First Lady Melania Trump were booed loudly after they made an appearance on opening night of the musical "Les Miserables," which is about a populist rebellion against a tyrannical king.

The Aztec empire's collapse shows why ruling through coercion and force fails

When Aztec emissaries arrived in 1520 to Tzintzuntzan, the capital of the Tarascan Kingdom in what is now the Mexican state of Michoacán, they carried a warning from the Aztec emperor, Cuauhtémoc.

They cautioned that strange foreigners – the Spaniards – had invaded the land and posed a grave threat. The emissaries requested an audience with the Tarascan ruler, known as the Cazonci, King Zuanga. But Zuanga had recently died, most likely from smallpox brought by the Spaniards.

Relations between the two empires had long been tense. They had clashed on the western frontier since 1476, fighting major battles and fortifying their borders. The Tarascans viewed the Aztecs as deceitful and dangerous – a threat to their very existence.

So, when the emissaries arrived to speak with a king who was already dead, they were sacrificed and granted audience with him in the afterlife. In that moment, the fate of the Aztecs was sealed in blood.

The Aztec empire did not fall because it lacked capability. It collapsed because it accumulated too many adversaries who resented its dominance. This is a historical episode the US president, Donald Trump, should take notice of as his rift with traditional US allies deepens.

Carl von Clausewitz and other philosophers of war have distinguished the concepts of force and power in relation to statecraft. In the broadest sense, power is ideological capital, predicated on military strength and influence in the global political sphere. In contrast, force is the exertion of military might to coerce other nations to your political will.

While power can be sustained through a strong economy, alliances and moral influence, force is expended. It drains resources and can erode internal political capital as well as global influence if it is used in a way that is perceived as arrogant or imperialistic.

The Aztec empire formed in 1428 as a triple alliance between the city-states of Tenochtitlan, Texcoco and Tlacopan, with Tenochtitlan eventually dominating the political structure. The empire exerted force through seasonal military campaigns and balanced this with a power dynamic of sacrificial display, threat, tribute and a culture of racial superiority.

In both its use of force and power, the Aztec empire was coercive and depended on fear to rule. Those subjugated by the empire, and those engaged in what seemed perpetual war, held great animosity and distrust of the Aztecs. The empire was thus built on conquered people and enemies waiting for the right opportunity to overthrow their overlords.

Hernán Cortés, the Spanish conquistador who ultimately brought large parts of what is now Mexico under the rule of Spain, exploited this hostility. He forged alliances with Tlaxcala and other former Aztec subjects, augmenting his small Spanish force with thousands of indigenous warriors.

Cortés led this Spanish-indigenous force against the Aztecs and besieged them in Tenochtitlan. The Aztecs had only one hope: to persuade the other great power in Mexico, the Tarascan empire to the west, to join forces with them. Their first emissaries met an ill fate. So, they tried again.

In 1521, Aztec envoys arrived once more in Tzintzuntzan and this time met with the new lord, Tangáxuan II. They brought captured steel weapons, a crossbow and armour to demonstrate the military threat they faced.

The Tarascan king paid attention. He sent an exploratory mission to the frontier to determine whether this was Aztec trickery or truth. As they arrived at the frontier, they met a group of Chichimecs – semi-nomadic warrior people who often worked for empires to patrol borders.

When told the mission was heading to Tenochtitlan to scout the situation, the Chichimecs replied that they were too late. It was only a city of death now, and they were on their way to the Tarascan king to offer their services. Tangáxuan submitted to the Spanish as a tributary kingdom the following year before being burned to death in 1530 by Spaniards trying to find where he had hidden gold.

Had the Tarascans maintained normal political relations with the Aztecs, they might have investigated the report of the first emissaries. One can imagine how history would be different if, during the siege of Tenochtitlan, 40,000 Tarascan warriors – renowned archers – had descended from the mountains to the west. It is unlikely that Cortés and his army could have prevailed.

American foreign policy

The failings of the Aztec empire were not due to a lack of courage or military prowess. During their battles with the Spanish, the Aztecs repeatedly demonstrated adaptability, learning how to fight against horses and cannon-laden ships.

The failing was a fundamental flaw in the political strategy of the empire – it was built on coercion and fear, leaving a ready force to challenge its authority when it was most vulnerable.

The foreign policy of the US since 2025, when Trump entered office for his second term, has emulated this model. Recently, the Trump administration has been projecting coercive power to support its ambitions for wealth, notoriety and to project American exceptionalism and manifest superiority.

This has manifested in threats or the exercise of limited force, such as tariffs or military attacks in Iran, Syria, Nigeria and Venezuela. Increasingly, other nations are challenging the effectiveness of this power. Colombia, Panama, Mexico and Canada, for example, have largely ignored the threat of coercive power.

As Trump uses American power to demand Greenland, his threats are becoming more feeble. Nato nations are abiding by their longstanding pact with economic and military resolve, with their leaders saying they will not give in to Trump’s pressure. The US is being pushed towards a position where it will have to switch from coercive power to coercive force.

If this course persists, military engagements, animosity from neighbours and vulnerabilities arising from the strength of other militaries, economic disruptions and environmental catastrophes may well leave the world’s most powerful nation exposed with no allies.The Conversation

Jay Silverstein, Senior Lecturer in the Department of Chemistry and Forensics, Nottingham Trent University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Sleeping ICE agents treated to 2 a.m. Rage Against the Machine serenades

If any feds currently in Minnesota are fans of Twisted Sister and Rage Against the Machine, they may not be for long.

That’s because of an ongoing effort to interrupt the sleep of federal officers and discourage local hotels from hosting the feds.

One recent night a make-shift rock band blared covers of “Killing in the Name” by Rage Against the Machine and “We’re Not Gonna Take It” by Twisted Sister at three area hotels — believed to be housing U.S. Immigration and Customs Enforcement and Border Patrol officers.

The band also accompanied obligatory anti-ICE chants.

Between midnight and well-past 2 a.m. early Friday, demonstrators sprawled across the metro, caravaning to establishments affiliated with companies known to have housed ICE agents: SpringHill Suites by Marriott in St. Louis Park, Sheraton Minneapolis West in Minnetonka and Home2 Suites by Hilton in Plymouth.

Minneapolis-based musician Daisy Forester, who played bass during Friday’s demonstration, said the purpose is bigger than a mere musical performance: “It’s to demonstrate the power of collective voices.”

Friday marked a new approach to what organizers are calling “noise demonstrations.”

Instead of making noise at a single location, demonstrators flocked to parking lots adjacent to each hotel property, where dozens quickly hauled band equipment, among “ICE OUT” signs and other noise-making instruments, onto surrounding sidewalks and boulevards.

A woman named Esther, who declined to give her last name given the Trump administration’s penchant for retribution, traveled to Minneapolis from Florida to support mutual aid networks and participate in protests.

“I don’t have any connections to Minnesota other than, well, I’m American,” she said.

Protesters spent fewer than 40 minutes making noise at each location, but enough time to cause some hotel guests to draw their shades and lodge complaints. There was no confrontation with ICE officers at any point on Friday morning.

St. Louis Park police were the only law enforcement to respond to the demonstrations. They told organizers they received multiple calls not from the hotel staff, but from individual hotel guests. They threatened citations just as protesters were about to disperse, but none were doled out.

None of the involved hotels responded to requests for comment.

Since ICE initiated “Operation Metro Surge” in December, crowds of dozens to hundreds have spent nights in subzero cold banging on pots and pans, blowing into whistles and screaming into megaphones outside of hotels believed to house ICE agents.

Some Minneapolis hotels have also seen an influx of people making and canceling reservations last-minute as a form of protest, according to organizers. Others are flooding travel sites with negative reviews of the hotels.

Local hospitality workers union Unite Here! wants to keep hotels from allowing ICE to conduct or stage immigration enforcement operations. In a press release, the union said the presence of agents invokes fear in their members who are “not trained or paid to manage.”

Late last week, a day after Border Patrol agents killed Alex Pretti, a demonstration grew tense at the Home2 Suites Hotel on University Avenue in Minneapolis when federal agents launched tear gas at the crowd after some participants damaged property — before Minneapolis Police and other local law enforcement had the chance to respond, according to a Facebook post from the state Department of Public Safety.

Caleb Batts, spokesperson for Sunrise Movement Twin Cities that organized the Friday morning protest, said the Sunrise Movement maintains peaceful and disciplined civil disobedience in “standing up to fascism.”

It’s unclear whether future noise demonstrations will take on a tour-like form, but Batts and other organizers said the Friday test run was successful.

Minnesota Reformer is part of States Newsroom, a nonprofit news network supported by grants and a coalition of donors as a 501c(3) public charity. Minnesota Reformer maintains editorial independence. Contact Editor J. Patrick Coolican for questions: info@minnesotareformer.com.

Kennedy Center fires high-ranking staffer who worked there for a decade

Washington D.C.'s Kennedy Center for the Performing Arts — which is chaired by President Donald Trump and led by a board he personally selected – recently fired one of its most experienced staffers despite her 10-year history with the institution.

The Daily Beast reported Thursday that Sarah Kramer, who was the Kennedy Center's senior director of artistic operations, has been fired as of Wednesday night. The auto-reply to messages sent to her professional email address reads: "Sarah Kramer is no longer an employee of the Kennedy Center."

Kramer was terminated after first starting at the Kennedy Center as an assistant manager for special programming in 2016. She worked her way up the organization's ranks and attained the titles of assistant manager, manager for programming and eventually became senior director of artistic operations. She did not provide a reason for her firing, and the Kennedy Center has not yet responded to requests for comment.

"Sarah is a member of the Programming team, working across both the curatorial and production teams and across all genres," an archived version of her staff bio reads. "Her heart and career started with dance and she aspires to actually put on a pair of tap shoes instead of shuffling around her kitchen with a stray 'Shuffle Off to Buffalo.'"

Kramer's firing comes just one day after another high-profile Kennedy Center hire quit after less than two weeks on the job. Kevin Couch had been hired as senior vice president of artistic programming on January 16, though he resigned from the role just 12 days later. Prior to being hired at the Kennedy Center, Couch ran his branding firm CBC Creative, and previously worked as a manager of various musical acts including 1990's R&B group Color Me Badd.

Two Trump Cabinet members bail on Melania film screening

First Lady Melania Trump's eponymous film is debuting this weekend — but two of her husband's top officials are already giving excuses for not attending a viewing event.

The conservative Washington Times reported Thursday that "Melania" will be screening for a select audience at the Kennedy Center for the Performing Arts in Washington D.C. The First Couple will be in attendance for tonight's viewing, along with the president's Cabinet — save for two members.

"Intelligence chief Tulsi Gabbard and Energy Secretary Chris Wright had previous obligations," the Washington Times reported, without details on Gabbard and Wright's prior engagements. Both officials were present at the White House for Thursday's Cabinet meeting.

According to the Daily Beast, the screening will also be attended by White House chief of staff Susie Wiles and Second Lady Usha Vance. Other guests include a smattering of celebrities and public figures including Fox host Maria Bartiromo, former New York City Mayor Eric Adams, rapper Waka Flocka Flame, convicted fraudster Jordan Belfort (who inspired the film The Wolf of Wall Street) along with various NFL players and UFC fighters.

Melania's film is projected to bomb at the box office, with CNN data analyst Harry Enten observing that the film is only expected to bring in $1 million to $5 million in ticket sales during its opening weekend. Enten also noted that online betting markets put strong odds at the film scoring 20 percent or less on film review site Rotten Tomatoes. This is despite Amazon paying Melania Trump $40 million for the exclusive rights to the film, and spending $35 million on advertising.

The first lady recently appeared on the floor of the New York Stock Exchange (NYSE) earlier this week to ring the opening bell – which is often a tradition for celebrities promoting an upcoming project. When she was greeted with a lukewarm reception, NYSE Group President Lynn Martin could be seen on video lifting her arms up to the assembled crowd of traders, encouraging them to clap harder.

'Conservative Hollywood' dream 'in ruins' as eight-figure show staggers out the door

In early 2020, Daily Wire CEO Jeremy Boreing found himself inspired by the eagerness with which the MAGA community devoured Daily Wire documentaries, and he decided to build a conservative Hollywood in Nashville, according to Bulwark Editor Will Sommer.

“Boreing’s pet project was a Game of Thrones–style take on the King Arthur legend, called The Pendragon Cycle: The Rise of Merlin. And, for a while, the right’s long-running dream of having more influence in entertainment seemed like it just might happen,” said Sommer.

But then the series caught the common Hollywood bugs of cost overruns and chaos and Boreing abruptly stepped down and vanished last March, according to Sommer. Then came the layoffs of Boreing’s entertainment division. “The dream of cool Hollywood conservatism,” said Sommer, “lay in ruins.”

But, lo and behold, the first two episodes of Boreing’s $14 million Pendragon project have finally broken ground. Or, maybe it cost $67 million, as podcaster Candace Owens claimed. Either way, the money just couldn’t buy a path out of mediocrity.

“Production-wise, Pendragon has the look of a quickly forgotten second-tier streaming show—which is . . . not bad, certainly when you consider where it’s coming from,” said Sommer. “Unfortunately for Boreing, he was and is no Ted Sarandos, the Netflix honcho hoovering up the competition. Instead, his dreams of bringing Pendragon to life appear to have deeply complicated his own career and the status of the Daily Wire itself. Investors in the conservative news site long ago began to wonder why they were paying so much to make a fantasy TV show when that money could have gone to, say, another dozen podcasts.”

In a “Deadline” interview, Boreing claimed the show cost “eight figures,” with “seven figures” spent on each of the seven episodes, said Sommer — which does not compare with the cheap, self-soothing schmear of Daily Wire’s 2024 documentary Am I Racist? costing just $3 million and then going on to “become the highest-grossing documentary of 2024.”

The problem for Pendragon is that Daily Wire’s audience prefers to buttress its beliefs with echo chamber documentaries, not wizards with arcane ties to Atlantis. It’s yet to be seen what kind of return all that money is going to bring, but Sommer notes that Boreing touched on his “apparently soured relationship” with Daily Wire founder Ben Shapiro in the “Deadline” interview.

“Either way, Boreing seems more focused on the world of movies now,” said Sommer. “He told Deadline he wants to launch ‘a conservative alternative to A24.’ He said Hollywood treats conservative viewers ‘as though they’re anathema. It takes them for granted.’”

“… [T]he sky’s the limit for Boreing’s conservative-film ambitions,” said Sommer, “as long as he is willing to cut the check this time.”

Read the Bulwark report at this link.

Philip Glass' last work is a direct 'warning' about Trump: legal scholar

President Donald Trump's influence on Washington D.C.'s Kennedy Center for the Performing Arts (which the president has added his name to) has now spread to legendary composer Philip Glass. Earlier this week, Glass announced that his "Symphony Number 15: Lincoln" will not debut at the venue. One legal scholar is arguing that Glass' symphony is actually about Trump.

"Lincoln' was inspired by President Abraham Lincoln, who served as the United States' first Republican president before he was assassinated on April 15, 1865 near the end of the American Civil War. And in a biting op-ed published by The New Republic on January 29, former federal prosecutor Harry Litman argues that "Lincoln" can serve as a "warning" about Trump.

"Donald Trump responded to Philip Glass' withdrawal of his 'Lincoln' symphony from the Kennedy Center the way he usually does when confronted by someone of real stature: with a sour-grapes, self-aggrandizing rant," Litman observes. "The tirade was petty, frivolous, and quickly forgotten. But the episode itself deserves attention because Trump’s insult, unsurprisingly, missed the broader point of Glass' gesture. Glass, 89, a towering figure in modern composition whose place in the history of music is secure, did not merely pull a much-anticipated work that is likely his last symphony. He pointedly sounded the symphony’s theme as a direct protest to the dangerous authoritarian rule under Trump."

Litman notes that Glass' "Lincoln" is "centrally" drawn from Abraham Lincoln's Lyceum Address of 1838.

"Lincoln delivered the address to a group of young professionals in Springfield, Illinois, when he was just 28 — an age when Trump was still shining his father's shoes," Litman explains. "Trump, who one suspects has never read the Lyceum speech or listened to a Glass symphony, viewed the gesture, as he invariably does, as a personal affront. In fact, it was far more. It incorporated Lincoln's prescient warning about democratic collapse, a warning that lands with unsettling accuracy on the dangers of Trumpian rule. In the Lyceum, Lincoln was already grappling with the question of how republics fail."

Litman continues, "He begins by asking where the danger to American self-government will come from. Not from abroad, he insists. No foreign army, no invading conqueror, no modern Bonaparte. If destruction comes, Lincoln says, 'it must spring up amongst us.'” If the republic falls, 'we must ourselves be its author and finisher'…. Lincoln warned that contempt for law is the republic’s gravest danger. Trump, without intending to, has demonstrated exactly why."

Harry Litman's full article for The New Republic is available at this link.

Trump's new Kennedy Center hire quits after less than 2 weeks on the job

One new high-ranking staffer at the Kennedy Center for the Performing Arts is now resigning from his role just weeks after his hire was announced.

On January 16, the Kennedy Center announced that Kevin Couch would be the new senior vice president of artistic programming at the vaunted institution. The Kennedy Center also announced Couch's new role on its official X account on January 22. However, the Washington Post reported Wednesday that Couch submitted his resignation less than a week later.

While Couch confirmed his resignation to the Post on Wednesday, he didn't issue any further comment explaining the reason for his sudden departure.

Prior to his 12-day stint at the Kennedy Center, Couch worked at his Dallas, Texas-based branding agency, CBC Creative. Before founding CBC Creative, Couch managed popular R&B acts, including 1990s group Color Me Badd. According to the Kennedy Center's press release announcing his hire, Couch "oversaw all aspects of business operations, including booking, licensing, staffing, and strategic consulting."

Couch also worked venue management agency ATG Entertainment, and booked major acts in San Antonio, Texas; Little Rock, Arkansas; Tulsa, Oklahoma and Springfield, Missouri. He reportedly booked marquee performers including Diana Ross, Carlos Santana and comedian Nate Bargatze.

"I am honored to join the Trump Kennedy Center at such a pivotal moment for the performing arts," Couch said in the release. "I look forward to the extraordinary creative possibilities ahead — championing our artists and partners to deliver meaningful experiences at America’s cultural center."

Couch's sudden exit comes on the heels of world-renowned composers and performers boycotting the Kennedy Center in response to President Donald Trump's takeover of the institution — including putting his own name above former President John F. Kennedy's on the building's facade. Earlier this week, award-winning composer Philip Glass announced he was joining the boycott, which has also been supported by musician Bela Fleck, Oscar-winning composer Stephen Schwartz, soprano singer Renee Fleming and others.

Director James Cameron says in Trump's America 'everybody's at each other's throats'

Acclaimed Hollywood director James Cameron recently elaborated on why he left the United States, and lamented that the U.S. has become paralyzed by political division under President Donald Trump.

The Hill reported Friday that Cameron – who directed the "Avatar" series along with blockbuster films like "Titanic" and the first two installments of the "Terminator" series – gave frank criticism of the political climate in the United States during an interview with journalist Graham Bensinger.

The Canadian-born filmmaker said that while he left the U.S. for his 12,000-acre New Zealand estate during the Covid-19 pandemic, he's in no hurry to return. He referred to his newly adopted home country as more "sane" than the United States due to its respect of science and its high vaccination rate.

"This is why I love New Zealand," Cameron said. "People there are, for the most part, sane, as opposed to the United States, where you have a 62 percent vaccination rate, and that’s going down, going the wrong direction."

The Oscar-winning director then posed a rhetorical question to Bensinger, asking: "Where would you rather live?"

"A place that actually believes in science and is sane and where people can work together cohesively toward a common goal, or a place where everybody’s at each other’s throats, extremely polarized, turning its back on science and basically would be in utter disarray if another pandemic appears?" He said.

Bensinger remarked that the United States was "a fantastic place to live," but referred to New Zealand as "stunningly beautiful." Cameron countered: "I'm not there for the scenery, I'm there for the sanity."

Cameron has been a consistent Trump critic. According to The Hill, Cameron said the 2024 election was "like watching a car crash over and over." He said during a 2025 podcast that he viewed the U.S. as turning away "from anything decent."

"America doesn’t stand for anything if it doesn’t stand for what it has historically stood for," he said not long after Trump's second inauguration. "It becomes a hollow idea, and I think they’re hollowing it out as fast as they can for their own benefit."

MAGA has a new fear: wine moms

The shooting death of Renee Nicole Good hit home with middle-class white women, who were seen as "politically complacent" in Donald Trump's era.

No more, writes Virginia Heffernan at The New Republic.

YouTube host Matt Bernstein welcomed southern podcaster Jennifer Welch who explained that "middle-aged" women like herself and her cohost Angie Sullivan are "FoxNews-coded" and making people uncomfortable as leftists in Fox's clothing.

Their podcast I've Had It showcases Bernstein's observation that “The Liberal Wine Moms are Radicalizing." Heffernan compares them to the late Ann Richards, a former Texas governor who took on George W. Bush and the far-right along with him.

"They have millions of followers on TikTok and YouTube, and their show is often at the very top of Apple Podcast ratings," observed Heffernan.

The author said that white women will never live down the stigma that their demographic supported President Donald Trump in three elections. They're well represented standing beside him as "ICE Barbies, trad wives, MAHA mothers, racist Karens and anti-feminist belles."

The popular Black social media creator Iyoncé said that the women have a kind of MAGA aura about them while signaling they're "safe" antifascist allies hiding in plain sight.

"It’s no wonder MAGA Megyn Kelly is set off by fellow white women like Poehler; her book-club manner conceals liberal commitments, making her a traitor to the master-race ladies’ auxiliary club," writes Heffernan.

She notes even Tucker Carlson discovered them years ago, saying, “The archetype of the person that I don’t like is a 38-year-old female white lawyer."

He added, “I hate you.”

Watching one of their own, Good, be shot three times by an ICE officer before calling her a "f—— b——" helped spark the growing powder keg.

"The paranoid and spiraling Trump administration" is now trying to paint these wine moms as domestic terrorists and Good was one of them.

Heffernan cited far-right Fox columnist David Marcus, who wrote after Good's death, “What we are seeing across the country [is] organized gangs of wine moms [who] use antifa tactics.”

"So now Fox News is framing a majority of white women as terrorists," Heffernan writes, dripping with sarcasm. "Perhaps one day an ICE officer will be asked in a hearing where exactly the wine-mom gangsters were headquartered; what their training consisted of; where their WMDs were; and just how dangerous they were such that they merited being preemptively murdered for attending a protest."

Read the full column here.

How 1984 predicted the global power shifts happening now

There’s nothing new about calling George Orwell’s most influential novel prescient. But the focus has usually been on his portrayal of the oppressive aspects of life in Oceania, the superstate in which Nineteen Eighty-Four is set.

Today, however, a different feature – which as recently as 2019, some critics dismissed as “obsolete” – is getting more attention: its vision of a world divided into three spheres, controlled by autocratic governments that constantly form and then break alliances.

In 2022, Vladimir Putin initiated Russia’s full-on invasion of Ukraine. This year began with the US mounting a raid on Venezuela and snatching its president, while Donald Trump speculated about US actions against various other countries in Latin America and Greenland. Meanwhile, Xi Jinping regularly repeats China’s intention to “reunify” with Taiwan – by force if necessary.

“Orwell-as-prophet” commentators began showing more interest in the superstate idea early in the decade, often leading with references to Putin’s imperial ambitions. This trend became more pronounced when Trump’s second term began.

Last year, American historian Alfred McCoy led with a tripolar reference in his Foreign Policy essay: “Is 2025 the New 1984?” A Bloomberg report on the Trump-Putin summit in Alaska last August was headlined: “It Looks Like a Trump-Putin-Xi World, But It’s Really Orwell’s”. The article described Nineteen Eighty-Four’s fictional model of global affairs as “prophetic”.

Many observers now see Big Brother-like leaders wielding power in Washington, as well as in Moscow and Beijing. In her first essay of 2026, Anne Applebaum wrote in The Atlantic that: “Orwell’s world is fiction, but some want it to become reality.”

The American journalist and historian noted a dangerous desire of some for “an Asia dominated by China, a Europe dominated by Russia, and a Western Hemisphere dominated by the United States”. Social media is awash with comments and maps in the same vein.

Orwell’s influences

Analysts have claimed that elements of Orwell’s portrayal of politics inside Oceania paralleled various parts of dystopian novels written before Nineteen Eighty-Four. They cite, in particular, the potential influence of Jack London’s The Iron Heel (1908) and Aldous Huxley’s Brave New World (1932) – works Orwell discussed in a 1940 essay.

Then there’s Yevgeny Zamyatin’s novel We (1921), which Orwell wrote about in 1946, and Arthur Koestler’s Darkness at Noon (1940), which he wrote about in 1941. Both inspired him with their criticism of the real Soviet Union.

Could these or other utopian and dystopian texts – such as Ayn Rand’s Anthem (1938), Sinclair Lewis’s It Can’t Happen Here (1935), and Noël Coward’s play Peace in Our Time (1946) – have given him ideas about future geopolitics?

In fact, most of the works mentioned downplay or ignore international issues. Koestler focuses on one unnamed totalitarian country, Zamyatin and Huxley on a single world-state, London and Lewis on an America transformed by a domestic tyrannical movement, and Coward a Britain conquered by Hitler.

Two other novels provide partial precedents. The first is The War in the Air (1908) by H.G. Wells, an author Orwell read throughout his life. It has a tripolar side, depicting a war between Germany, the US and Britain, and a Chinese and Japanese force. The second is Swastika Night by Katharine Burdekin (writing as Murray Constantine).

Orwell never referred to Swastika Night in any publication, and his most prominent biographer, D.J. Taylor, has claimed there is no definitive evidence that he read it. However, as it was a Left Book Club selection and he was a Left Book Club author, Orwell would at least have known about it. The novel describes a world divided into two rival camps, not three, but portrays allies becoming rivals. The competing superstates are Nazi Germany and imperial Japan, who were on the same side when the book was written.

In his own words

The most satisfying place to look for inspiration for Nineteen Eighty-Four’s geopolitical vision, though, is in Orwell’s own experiences and non-fiction reading. Before the 1940s, Orwell spent a lot of time learning and writing critically about three oppressive systems: capitalism, fascism and Soviet communism.

In terms of capitalism, working as a colonial police officer in Burma in the 1920s left him disgusted with what he called the “dirty work of empire”. Living in England later led him to write works on class injustices such as The Road to Wigan Pier (1937).

In terms of fascism, he wrote scathingly about Hitler and Franco. Orwell was also appalled by accounts of repression under Stalin. His time fighting in Spain reinforced his dark view of Moscow and he saw erstwhile allies become arch-enemies as the anti-Franco coalition broke down, and the Soviets began treating groups that had been part of it as villains.

Second world war news stories had an impact as well. In 1939 and 1941 respectively, newspapers were full of reports of Moscow and Berlin signing a non-aggression pact, and then of Moscow switching sides to join the Allies.

And in a 1945 essay, Orwell mocked news of many people on the left embracing the fervently anti-Communist Chinese Nationalist Party leader, Chiang Kai-shek, once he was with the Allies – seemingly having forgetten their earlier disdain for Chiang’s brutal effort to exterminate the Chinese Communist Party.

But perhaps the most notable 1940s news story of all relating to Nineteen Eighty-Four’s geopolitics has been flagged by Taylor as one that broke in 1943. He notes that Orwell sometimes claimed a key inspiration for his final novel were the reports of Roosevelt, Stalin and Churchill talking at the 1943 Tehran conference about carving up the post-war world into three spheres.

Nineteen Eighty-Four has had extraordinary longevity as a go-to text for political commentary. There are many explanations for its staying power, but right now a key feature of it may be its relevance to thinking about both repression of dissent and Newspeak-style propaganda in many individual countries – and the unsettling geopolitical tensions in the world at large.The Conversation

Emrah Atasoy, Associate Fellow of English and Comparative Literary Studies & Honorary Research Fellow of IAS, the University of Warwick and Upcoming IASH Postdoctoral Research Fellow, the University of Edinburgh, University of Warwick and Jeffrey Wasserstrom, Professor of Chinese and World History, University of California, Irvine

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Two acclaimed American films reveal the failures of leftwing revolutionary politics

Donald Trump’s victory in November 2024 led to considerable soul-searching among those on the left of US politics. Having failed to defeat a convicted criminal they beat once before, the Democrats spent most of 2025 licking their wounds as Trump launched what they saw as a full-frontal assault on US democracy.

This new year has begun with fresh outrages at home and abroad, with the administration acting with increasingly horrifying impunity.

Coupled with the continued rise of rightwing populism and authoritarianism the world over, Trump 2.0 has felt like an existential crisis for the left.

The country has been here before. Leftwing protest movements in the 1960s in the US contributed to great legislative change – particularly in the area of civil rights – but they were often caricatured as unpatriotic, particularly in relation to the war in Vietnam. The feeling that the country was coming apart at the hands of young, violent radicals led the conservative “silent majority” to deliver Richard Nixon’s 1968 election victory.

Since then, mainstream leftwing politics in the US has recoiled from the idealism of the 1960s and instead offered change mostly in small increments. But this has arguably not proven a particularly successful strategy either over the past half century or more.

In the context of yet another defeat and the latest round of introspection, it seems appropriate, then, that two films concerned with the failures of leftwing revolutionary politics of the 1960s and 1970s should emerge almost simultaneously with Trump’s resurgence.

Exploring leftwing activism

Though very different in style and tone, Paul Thomas Anderson’s One Battle After Another (2025) and Kelly Reichardt’s The Mastermind (2025) both critique what they see as the strategic inadequacy and self-indulgence of leftwing activism, as well as explore its personal cost.

One Battle After Another sees former revolutionary Pat Calhoun, aka “Bob” (Leonardo Di Caprio) trying to rescue his daughter Willa (Chase Infiniti) from the clutches of a psychopathic white supremacist colonel, Lockjaw (Sean Penn). Though Bob had in a previous life resisted the federal government’s cruel, racist immigration policies through a series of daring raids on detention centres, fatherhood and excessive cannabis use have dulled his revolutionary edge.

Instead, Bob is now a somewhat incompetent buffoon. The film mines, for comedic purposes, his shambolic attempts to communicate with the “French 75” – the revolutionary army of which he was once part, modelled on real-life revolutionary groups of the 1960s and 1970s like the Weathermen.

Stumbling around in his bathrobe, he has forgotten all the codes and conventions necessary to navigate this world. From passwords to pronouns, Bob is out of step with the times.

However, the film finds room to poke fun at the sanctimony of the left too. As Bob grows increasingly aggressive when unable to secure information regarding a crucial rendezvous point, the thin-skinned radical to whom he is speaking on the phone informs him that the language Bob is using is having a detrimental impact on his wellbeing. If Bob lacks the competence to support the revolution, the people in charge of it are too fragile to achieve one either.

By contrast, The Mastermind follows J.B. Mooney (Josh O’Connor) in his attempts to evade the clutches of the authorities after he orchestrates the theft of four artworks from a suburban museum. Husband, father, and the son of a judge, Mooney is privileged, directionless, disorganised, selfish and, it seems, oblivious to the impact of the war in Vietnam as conflict rages all around him.

His disorganisation is obvious from the moment he realises his children’s school is closed for teacher training on the day of the heist. His privilege is clear when all he has to do is mention his father’s name when first questioned by police to get them off his back.

Even his attempts to convince his wife, Terri (Alana Haim), that he did this for her and their kids is inadequate, as he stumbles into admitting he also did it for himself.

While on the run from the authorities, Mooney appears ignorant of what is really going on around him, from the young Black men who discuss their imminent deployment to Vietnam, to the news broadcast of the realities of the war. Without spoiling anything, Mooney is, in the end, unable to avoid the effects of Vietnam on US society altogether.

Telling moments in both films also suggest the wavering commitment to revolution among its former acolytes. In The Mastermind, Mooney hides out at the home of Fred (John Magaro) and Maude (Gaby Hoffmann), a couple with whom he attended art college.

Despite her activist past, Maude refuses to let him stay for longer than one night for fear of unwanted attention from the authorities. In One Battle After Another, Bob’s willingness to take risks with his safety and freedom declines when he becomes a parent, and he is – rather problematically – quick to judge Willa’s mother, Perfidia (Teyana Taylor), for continuing to do so.

Political cinema of the 1970s

Both films can’t help but recall the similarly political work produced in US cinema in the late 1960s and early 1970s, such as Five Easy Pieces (1970), Two-Lane Blacktop (1971) and Chinatown (1974). In the midst of the Nixon-era backlash to the radicalism of the 1960s, these films have a tone of defeatist resignation, featuring directionless protagonists and unhappy endings.

The Mastermind’s conclusion is comparable to these earlier examples: its conclusion sees the police at a Vietnam protest, patting each other on the back, having rounded up another bunch of protesters and sent them to the can.

Though One Battle After Another is considerably more effervescent in its style, it too sees leftwing revolutionary politics as something of a dead end. Smaller scale victories are possible, with Sergio (Benicio Del Toro) continuing to fight the good fight for undocumented immigrants, and Willa running off to join a Black Lives Matter protest at the film’s end.

But watching both films from the perspective of a new year in which the Trump administration threatens violent upheaval at home and abroad, I think of Captain America’s (Peter Fonda) mournful lament towards the end of counterculture classic Easy Rider (1969): “We blew it.”

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NBA coach calls Renee Good shooting 'straight-up murder'

Glenn Anton "Doc" Rivers, who is the head coach of the Milwaukee Bucks NBA franchise, spent several minutes from a recent post-game press conference to denounce the killing of Minneapolis, Minnesota resident Renee Good at the hands of federal agents.

The Milwaukee Journal-Sentinel reported that Rivers — whose team defeated the Los Angeles Lakers by a score of 105-101 on Friday — called Good's killing "morally wrong" while speaking to reporters after the game. The 2008 NBA champion head coach stated that he viewed U.S. Immigration and Customs Enforcement's (ICE) fatal shooting of the U.S. citizen and mother as "straight-up murder."

"It's awful. This lady was probably trying to go home and she didn't make it home and that's really sad," he said. "The whole ICE thing is a travesty."

Rivers went on to accuse President Donald Trump's administration of "attacking Brown people," and noted that while he is a person of color, that it shouldn't just be people of color calling out what he viewed as racist federal policy.

"I don't care what side of this thing you're on politically," he said. "What's going on in our country is absolutely wrong as far as the race stuff. The politics I'm not going to get into, the race stuff I will. And it's just wrong, and we have to do something. But the only thing we can do right now is keep speaking up. Because it doesn't seem like they care. And that's troublesome."

The Bucks head coach told reporters that he felt the president was serving as a poor "role model" for young Americans to emulate, and accused Trump of governing as a "bully."

"I keep thinking about kids," he said. "And when I grew up, the president was always the role model. And I think about that, and the effect of being a bully, lying, how is that good for our kids? and that worries me for our future."

Watch the video of Rivers' remarks below:

Behind the Trump admin's mysterious plan to remake public education

Linda McMahon, the nation’s secretary of education, says public schools are failing.

In November, she promised a “hard reset” of the system in which more than 80% of U.S. children learn. But rather than invest in public education, she has been working to dismantle the Department of Education and enact wholesale changes to how public schools operate.

“Our final mission as a department is to fully empower states to carry the torch of our educational renaissance,” she said at a November press conference.

To help her carry out these and other goals, McMahon has brought at least 20 advisers from ultraconservative think tanks and advocacy groups who share her skepticism of the value of public education and seek deep changes, including instilling Christian values into public schools.

ProPublica reporters Jennifer Smith Richards and Megan O’Matz spent months reporting and reviewing dozens of hours of video to understand the ideals and ambitions of those pulling the levers of power in federal education policy. They found a concerted push to shrink public school systems by steering taxpayer dollars to private, religious and charter schools, as well as options like homeschooling. The Education Department did not respond to a detailed list of questions from ProPublica.

They also found top officials expressing a vision for the remaining public schools that rejects the separation of church and state and promotes a pro-America vision of history, an “uplifting portrayal of the nation’s founding ideals.” Critics argue the “patriotic” curricula downplay the legacy of slavery and paper over episodes of discrimination.

Since its establishment in 1979, the Department of Education’s Office for Civil Rights has served as an enforcer of anti-discrimination laws in schools and colleges around the country. It’s the place parents turn to when they believe their schools failed to protect children from discrimination or to provide access to an equal education under the law.

The Trump administration laid off much of the office’s staff in its first months and prioritized investigations into schools that allegedly discriminated against white and Jewish students and accommodated transgender students. McMahon and the department have framed this as a course correction in line with efforts to be more efficient and curb diversity, equity and inclusion policies from prior administrations. It has left little recourse for those seeking to defend the rights of students with disabilities, students of color and those facing sex discrimination.

In this video, Smith Richards and O’Matz explain how McMahon and her advisers are reenvisioning the nation’s educational system and what that could mean for the future.

Watch the video here.

Jeopardy host Ken Jennings calls on Democrats to prosecute Trump admin 'at every level'

More Americans are eager for accountability following the fatal shooting of a U.S. citizen by U.S. Immigration and Customs Enforcement (ICE) agents in Minneapolis, Minnesota on Wednesday, This also includes Jeopardy! host Ken Jennings.

In a Wednesday afternoon post to his official Bluesky account, Jennings wrote: "The 'prosecute the former regime at every level' candidate has my vote in 2028." The post immediately went viral, with Bluesky users responding with posts framed as questions in the style of the game show Jennings has hosted since 2022.

"Best I can do is, 'lower the price of eggs,'" Bluesky influencer Schooley wrote.

"My kitchen table issue is 'don’t shoot people at their kitchen tables,'" the Jeopardy! host responded.

The game show host's post brought about a flurry of reactions on the social media platform. Center for Progressive Reform policy director James Goodwin wrote: "'Things that are correct' for $2000." MS NOW contributor Philip Bump posted: "I try not to infer anything from the fact that the host of the TV show for smart nerds doesn’t face public blowback for expressing his political viewpoint."

"I'll take 'Out of F—— To Give' for 200, Ken," quipped podcast host John Brooks.

"Couldn't be more excited to see Ken f—— Jennings on team Accountability for These Criminals," wrote progressive campaign organizer Evan Sutton.

"Hello current host of the popular tv game show Jeopardy Ken Jennings," wrote Virginia Tech Ph.D candidate Michael Senters. "I like this statement."

'There's no way': Legendary composer backs out of hosting Kennedy Center gala due to Trump

One of the most iconic living composers of Broadway musicals is now no longer hosting a gala to support the Kennedy Center for the Performing Arts — and he's pinning the blame squarely on President Donald Trump.

The New York Times reported Friday that Stephen Schwartz, who is the composer for the Broadway musical and hit film Wicked, has now backed out of hosting the gala in response to Trump adding his name to the vaunted institution. Schwartz said he has long been a supporter of and collaborator with the Kennedy Center as it "was founded to be an apolitical home for free artistic expression for artists of all nationalities and ideologies."

"It is no longer apolitical and appearing there has now become an ideological statement," Schwartz told the Times. "As long as that remains the case, I will not appear there."

"There’s no way I would set foot in it now," he added in a separate statement to Newsday.

Schwartz — who has won three Oscars for his composing work on the Disney films Pocahontas (1996) and The Prince of Egypt (1999) and who is also known for composing music for the Broadway musicals Godspell and Pippin — said Washington National Opera artistic director Francesca Zambello asked him in late 2024 to host a gala for the opera at the Kennedy Center on May 16 of this year. While Schwartz agreed at the time, he told the Times it had been more than a year since he had spoken with anyone at the Kennedy Center. In February of last year, Trump appointed himself chairman of the Kennedy Center and replaced its board with political loyalists.

In a statement to the Times, Kennedy Center vice president for public relations Roma Daravi said: "Stephen Schwartz was never discussed nor confirmed and never had a contract by current Trump Kennedy Center leadership." Kennedy Center president Richard Grenell (who was acting director of national intelligence during Trump's first term) wrote on his X account: "The Stephen Schwartz reports are totally bogus."

"He was never signed and I’ve never had a single conversation on him since arriving," Grenell added. "He himself said last February he hadn’t heard anything on it."

Schwartz is the latest high-profile artist to distance himself from the Kennedy Center in the wake of Trump's takeover. Jazz group The Cookers recently pulled out of a New Years' Eve concert, and guitarist Chuck Redd cancelled a Christmas Eve performance. In addition to Redd and The Cookers, dance company Doug Varone and Dancers canceled two performances in April that would have generated $40,000 in income for the group.

Click here to read the Times' report in its entirety (subscription required).

'Can't stand on that stage': More artists are canceling Kennedy Center shows due to Trump

After President Donald Trump put his name on the John F. Kennedy Center for the Performing Arts, a growing number of artists have been calling off their performances — even to their own financial detriment.

The New York Times reported Monday that the Kennedy Center is seeing an exodus of acts from its 2026 schedule after the president had his name affixed above Kennedy's on the front of the building. Jazz group The Cookers pulled out of a planned New Years' Eve performance and issued the statement: "Jazz was born from struggle and from a relentless insistence on freedom: freedom of thought, of expression, and of the full human voice."

The group's drummer, Billy Hart, told the Times that Trump changing the name "evidently" played a role in the decision to cancel the show. He added that The Cookers were concerned about potential reprisal from the Trump administration.

The possibility of a response from the president is not out of the question, given that Kennedy Center president and executive director Richard Grenell (who was Trump's acting director of national intelligence during his first administration) has announced plans to sue guitarist Chuck Redd for $1 million after he canceled a Christmas Eve performance.

"Your decision to withdraw at the last moment — explicitly in response to the Center’s recent renaming, which honors President Trump’s extraordinary efforts to save this national treasure — is classic intolerance and very costly to a non-profit Arts institution," Grenell wrote in a letter to Redd. "Regrettably, your action surrenders to the sad bullying tactics employed by certain elements on the left, who have sought to intimidate artists into boycotting performances at our national cultural center."

In addition to Redd and The Cookers, dance company Doug Varone and Dancers canceled two performances in April that would have generated $40,000 in income. Founder Doug Varone called the decision "financially devastating but morally exhilarating."

Alabama-based folk singer Kristy Lee is also calling off a free concert she was scheduled to play at the Kennedy Center on January 14. In a recent post to her Instagram account, Lee wrote: "I believe in the power of truth, and I believe in the power of people. And I’m gonna stand on that side forever."

"I won’t lie to you, canceling shows hurts. This is how I keep the lights on. But losing my integrity would cost me more than any paycheck," she wrote. "When American history starts getting treated like something you can ban, erase, rename, or rebrand for somebody else’s ego, I can’t stand on that stage and sleep right at night."

"America didn’t get built by branding. It got built by people showing up and doing the work. And the folks who carry it don’t need their name on it, they just show up," Lee added. "That's all I'm doing here. I'm showing up."

Click here to read the New York Times' full article in its entirety.

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