That Trump insists on refashioning institutions in his own image is largely not permitted is besides the point–refashion he will, as surely as Andrew Cuomo slapped his dad’s name on the Tappan Zee bridge. And even when he names something after himself on a legitimate basis, it is an act that bespeaks cringe and not confidence.
Obviously the political will to oppose this bloated namifying, if it exists at all, should be expended on more dire tendrils of Trump’s fascism (disappearing our neighbors, codifying racism and bigotry, conducting illegal wars, etc.). And yet.
Over the holidays, musician Chuck Redd, who has hosted a Kennedy Center Christmas Eve concert called Jazz Jam since 2006, canceled this year’s show on five days’ notice. The reason given was Trump’s decision to (awkwardly) rename The John F. Kennedy Memorial Center for the Performing Arts after himself.
In response, Trump toadies did what Trump toadies always do: issue performative statements and threaten legal action. Kennedy Center spokesperson Roma Daravi issued a statement that claimed:
Any artist cancelling their show at the Trump Kennedy Center over political differences isn’t courageous or principled—they are selfish, intolerant, and have failed to meet the basic duty of a public artist: to perform for all people.
And the Trump-installed president of the Kennedy Center, Richard Grenell, issued a statement in the form of a letter to Rudd.
If you are not familiar with Richard Grenell, he is a longtime consultant/GOP functionary who found his true calling when he realized that lickspittling Donald Trump was the road to success. Since then, he has been ambassador to Germany and Director of National Intelligence, and, early in the second Trump administration, integral in securing the release of the Tate brothers from Romania, where they had been held on charges of sex trafficking and rape. Grenell is truly the utility infielder of Trump sycophants.
Grenell’s “letter” to Rudd is a brief couple hundred words of character assassination with a nod to “certain elements of the left” and a threat to sue. And in case you were wondering, the Trump-led Kennedy Center is doing just great:
Our innovative KC Speakeasy—an intimate rooftop after-hours venue featuring live jazz—has consistently sold out, attracting diverse audiences and revitalizing the genre in exciting ways.
The most interesting aspect of the legal threat is its arbitrariness. The grounds for such action cited are Rudd’s “dismal ticket sales and lack of donor support, combined with [Rudd’s] last-minute cancelation,” which seem to be two valid claims forced to share a studio apartment against their will, and the amount of damages sought–“$1 million”–is entirely unsupported, although a nice round number.
Further, and I speak from experience, customarily when performing artists agree to perform at a venue on a future date, this exotic legal mechanism known as a “contract” is employed, which sets forth the terms of agreement on things like, time, place, compensation and–I’m not kidding–what happens if one side or the other cancels the show.
In any event, while consisting of more words than Trump would ever read in one sitting, the letter remains a limp attempt to look busy for Boss Trump, and an even limper swing at bullying Rudd and artists like Rudd who would just rather not.
Trump toadies claim that these are “political” acts. I think that is only vaguely true. If Rudd or any future artists cancel with stated motivations of opposition to policies (and there are a lot of rancid policies to choose from), then sure! Political act. However, opposition to Trump pathologically insisting that the entirety of American society must be Trump-branded isn’t a political decision, it’s a personal decision. Rudd (et alia) aren’t opposing anything Trump has done other than make it about Trump. They are refusing to bend the knee to the self-proclaimed emperor.
As a person who has made art in the past and intends to make art in the future, I say that the assertion that there is a “duty to perform” on behalf of a “public artist” is fucking horseshit, and any outlet that repeats such assertion without a modifier is not very good at their job. There are no obligations or duties intrinsic to the act of making art, and to claim otherwise is to tell on one’s self. The outrage of the toadies is aimed at the refusal of others to toadie, no matter what “duties” they claim.
To insist that an artist must perform for you is unabashed, late stage fascism. Only dictators insist that an artist must appear and entertain the dictator and his court, and only the most fragile dictators, afraid of what the future may hold for them, will threaten an artist with penalty for failing to do so.
And toadies notwithstanding, slapping his name on shit will not convince people that Trump is any less shitty as a president (or a person!), and will keep us all busy re-renaming things once he has shuffled off this mortal coil.
What is at stake here is not our compliance, but rather their own self-regard. Trump can seize all the power, Trump can impose his moldy will on the institutions of the government, but Trump and his stans will never get what they truly want: respect and adulation. No matter how hard they wishcast a Trump Reich, they will never be beloved. The great artists of the world will never perform at their whim, let alone treat them as anything but sad soulless uncouth motherfuckers.