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Why Trump’s Takeover of the Kennedy Center Will Reverberate in Hollywood and Beyond

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In September 1971, when the John F. Kennedy Center for Performing Arts officially opened its doors, a somber yet significant event took place, with Leonard Bernstein’s groundbreaking work, “Mass,” being premiered – a piece commissioned by the widow of America’s first Catholic President. However, there was one notable absence among the distinguished guests at this grand opera house: President Richard Nixon did not attend the inauguration.

It wasn’t by chance that the White House retrieved Bernstein’s FBI file, which later totaled over 800 pages and was obtained by Alex Ross of The New Yorker in 2009 through a Freedom of Information Act request. The White House had foreseen that the work might reflect Bernstein’s well-known anti-Vietnam War activism, so they opted to distance themselves from any potential discomfort. Instead of attending an event where Bernstein was scheduled to perform, Nixon chose to attend a National Symphony Orchestra event, keeping Bernstein at arm’s length. This approach exemplified Richard Nixon’s attitude towards the nation’s performing arts temple. He realized that works and their messages might not resonate with him, but he never considered shutting it down. Nixon, like many others, recognized the influence of cultural engagement as a form of soft power.

During his first term, Donald Trump chose not to frequent the Kennedy Center, which usually hosts the annual Kennedy Center Honors. This event honors a few artists or groups who have significantly impacted American culture. Typically, the President and First Lady attend this glamorous ceremony and invite the honorees to the White House. In Trump’s initial year in office, three honorees considered boycotting the televised event due to sharing the stage with Trump. Faced with an untenable situation, Trump avoided attending the ceremony throughout his term, thus allowing figures like Norman Lear and Lin-Manuel Miranda to participate without having to interact with Trump personally. This could be seen as a tactful maneuver reminiscent of former President Nixon’s diplomacy. Throughout his tenure, Trump did not visit what essentially serves as a national performing arts palace.

This time around, President Trump appears less generous in spirit. Over several days, he removed members from the Kennedy Center board who were appointed by Joe Biden and replaced them with his own appointees for six-year terms. He then assumed the role of chairman for the governing body himself and appointed a loyalist, Richard Grenell, as the interim leader. On Wednesday, it seemed that Trump had taken full control over this institution: a board consisting entirely of his appointees unanimously made him the chairman, effectively giving him authority to regulate artistic decisions on the de facto national stage.

Trump shared on his social media that he plans to transform The Kennedy Center into an exceptionally captivating and thrilling destination!

Immediately following the MAGA control of the Kennedy Center, changes became apparent. The center’s previous leader, Deborah F. Rutter, has stepped down, and musician Ben Folds promptly resigned from his role as an artistic adviser to the National Symphony Orchestra, which considers the Kennedy Center its home.

The Kennedy Center Honors might serve as the platform where Trump’s future participation is most noticeable. Typically, the honorees are chosen by the board and past recipients; however, it seems unlikely that recent laureates such as Oprah Winfrey and George Clooney would accept this recognition if they were aware of Trump assuming a more prominent position. Consequently, it’s possible that the Kennedy Center Honors for the next four years may only be given to artists who are comfortable appearing alongside Trump.

As a movie buff, I can’t help but ponder a potential transformation for another Kennedy Center gem – the Mark Twain Prize for American Humor. This accolade, often bestowed by an enigmatic group of Kennedy Center insiders, is typically regarded as the highest honor in comedy. In recent times, it has been awarded to luminaries such as Dave Chappelle, Jon Stewart, and Julia-Louis Dreyfus. Conan O’Brien, this year’s recipient, who will be honored next month, has largely avoided politics, but he did endorse Biden in 2020. It’s fascinating to consider the evolution of this prestigious prize and who might be its next recipient.

The significance of these matters might appear minimal – after all, celebrities not receiving accolades isn’t the most pressing issue globally – but the shows that the Kennedy Center decides to present can have a profound impact in Hollywood and beyond, since their creations are distributed worldwide. With approximately 2,200 events happening each year, attracting around 2 million visitors, the Kennedy Center serves as a platform where Trump’s influence, as curator, is palpable. Moreover, the Kennedy Center’s calendar, filled with debuts of musical theater, operas, and orchestral and dance pieces, functions subtly as cultural diplomacy. This explains why the U.S. Secretary of State is required to be present at board meetings. During the weekend of festivities, the Kennedy Center Honors often shares its stage with the State Department.

Under appearances, Trump is pointing fingers at recent Kennedy Center performances featuring drag queens for hindering his takeover attempt. However, behind closed doors, the President is subtly expressing a desire to have more control over bookings in the future.

On Monday, Trump stated that his team had assumed control over the Kennedy Center. He expressed dissatisfaction with their previous programming, as well as other aspects. He further declared that he would serve as the chairperson and ensure a high-quality, non-progressive experience for visitors.

Politically charged matters have always had some degree of intermingling with the Kennedy Center, and the world of art has never been entirely shielded from political influence. The specter of boycotts continues to cast a chill over any organization, where the faintest suspicion could potentially jeopardize donors’ allegiances.

In a similar vein, given that many institutions in Washington find it risky to alienate a President who appears determined to squash any hint of dissent or disloyalty at present, it’s not surprising that the Smithsonian, though not technically a federal agency, has chosen to stop its diversity initiatives after President Trump issued an executive order abolishing such programs across the federal government. Despite this, two-thirds of the Smithsonian’s employees are federal workers, and Congress does have authority to oversee and fund the institution.

Simultaneously, certain corporations linked to the government are making moves to eliminate anything that might attract unfavorable attention from Trump. For instance, Booz Allen Hamilton, a significant government contractor, recently decided to withdraw as the main sponsor for this summer’s World Pride event in Washington D.C., an anticipated gathering of up to 3 million LGBTQ individuals.

Indeed, it’s true. We’re approaching a time when the Kennedy Center could be filled with items that cater to Donald Trump’s preferences.

In my social media realm, I, the admirer, shared a captivating A.I.-crafted image of myself, portraying me as a maestro. “Welcome to the freshly revamped Kennedy Center!” I labeled this phantasmagoric snapshot, sending ripples through the D.C. arts community as the sudden dismissal of 18 board members left them taken aback, anticipating another four years of tranquil neglect.

Nixon recognized that the real audience of the Kennedy Center wasn’t just the elite crowd in Washington D.C., but the global viewers tuning into its programming. That’s why, despite criticism, he chose not to attend, preferring to let the world witness the unfettered expression of free speech and art. Today, Trump seems to be assuming a role as a judge of American aesthetics. The Kennedy Center could easily become another platform for Trump, one that he might manipulate according to his own whims, disregarding any impact on our national identity.

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2025-02-13 01:07

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