A long-running Christmas jazz tradition at Washington’s iconic Kennedy Center was abruptly canceled this year after its host withdrew in protest over the venue’s controversial rebranding to include the name of President Donald Trump, igniting fresh debate over politics, culture, and the future of America’s premier performing arts institution.
The annual Christmas Eve Jazz Jam, a fixture at the Kennedy Center for more than two decades, was called off after acclaimed jazz musician Chuck Redd announced he would no longer participate following the addition of Trump’s name to the building’s official title.
The center, now formally known as The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts, unveiled the change last week, prompting backlash from artists, members of the Kennedy family, and Democratic lawmakers who argue the move violates federal law.
A Holiday Tradition Comes to an End
Redd, a highly respected drummer and vibraphone player, has led the Kennedy Center’s Christmas jazz celebrations since 2006, taking over the role from legendary bassist William “Keter” Betts. The concerts have long been seen as a nonpartisan holiday gathering, blending music, tradition, and seasonal goodwill.
This year, however, Redd chose to cancel the event entirely.
“When I saw the name change on the Kennedy Center website and then hours later on the building, I chose to cancel our concert,” Redd said in an email to The Associated Press. He later added that he was “saddened” by the decision, noting that the venue had played a central role throughout his career.
The Kennedy Center’s website subsequently listed the Christmas Eve Jazz Jam as canceled, and the institution did not immediately respond to requests for comment.
Rebrand Sparks Legal and Cultural Firestorm
The name change, approved by the president’s handpicked Kennedy Center board, has become a lightning rod for controversy. According to the White House, the decision was legally authorized by the board, though numerous scholars and historians dispute that claim.
Congress designated the Kennedy Center in 1964 as a living memorial to President John F. Kennedy following his assassination the previous year. Critics argue that the law explicitly bars the building from being renamed or turned into a memorial for anyone else.
Former House historian Ray Smock is among those insisting that only Congress has the authority to approve such a change. “The statute is clear,” Smock and others have argued. “The board does not have the power to add another individual’s name to the exterior of the building.”
Despite these objections, workers were seen last week installing new lettering on the Kennedy Center’s façade, formally adding Trump’s name alongside Kennedy’s.
Trump Reacts as Opposition Grows
President Trump said he was “surprised” by the board’s decision and described himself as “honored” by the move. However, he had previously hinted at the rebrand earlier this month, casually referring to the venue as the “Trump Kennedy Center” during remarks to reporters.
The president, who largely avoided the Kennedy Center during his first term, has taken a markedly different approach since returning to office. He has reshaped the institution’s leadership, replaced board members, and appointed himself chairman—moves that have broken long-standing norms surrounding the center’s governance.
Trump also personally hosted this year’s Kennedy Center Honors, ending a tradition in which presidents typically attended as guests rather than hosts.
Administration officials say the changes are part of a broader effort to confront what the president has repeatedly described as “woke culture” dominating federally supported arts institutions.
Artists Begin to Walk Away
Redd’s decision to cancel the Christmas jazz concert is only the latest in a growing list of artist withdrawals linked to the Kennedy Center’s transformation.
Several high-profile performers have reportedly pulled out of scheduled appearances since Trump returned to office, including actress and producer Issa Rae and rock musician Peter Wolf. Lin-Manuel Miranda also canceled a planned production of Hamilton, citing concerns about the direction of the institution.
Supporters of the president argue that these cancellations reflect ideological intolerance rather than principled protest, accusing artists of politicizing cultural spaces that should remain accessible to all Americans.
Kennedy Family Pushes Back
Members of the Kennedy family have voiced sharp opposition to the name change. Kerry Kennedy, niece of President John F. Kennedy, publicly condemned the decision and vowed to remove Trump’s name from the building once he leaves office.
The reaction has underscored the emotional and symbolic weight the Kennedy Center carries—not just as a performance venue, but as a national memorial tied to a pivotal moment in American history.
“The center was meant to honor one man and what he represented,” one family ally said. “Adding another name fundamentally alters that purpose.”
Lawsuit Filed Over Renaming
The controversy escalated further after Representative Joyce Beatty, an Ohio Democrat and non-voting member of the Kennedy Center board, filed a federal lawsuit challenging the rebrand.
Beatty alleges that the decision was improperly presented as unanimous and that she was excluded from meaningful participation in the process. She also argues that congressional approval is legally required for any name change.
In response, Kennedy Center President Richard Grenell stated on social media that Beatty is an ex-officio member without voting rights and that such members have never been permitted to vote on board decisions.
Grenell’s remarks did little to quell criticism, with opponents accusing the administration of sidelining dissenting voices.
Kennedy Center Defends Its Decision
Kennedy Center Vice President of Public Relations Roma Daravi defended the name addition, telling the Daily Mail that the move follows precedent set by previous administrations.
Daravi pointed to the State Department’s decision to add Trump’s name to the Institute of Peace and to prior renamings of military bases as evidence that such actions are not unprecedented.
She also emphasized that the Kennedy memorial itself remains intact.
“The Kennedy Memorial is not impacted at all by this name addition,” Daravi said, arguing that the change restores the center’s bipartisan roots. She noted that the institution was originally created under President Dwight D. Eisenhower before being dedicated to Kennedy following his death.
A Cultural Battleground
The cancellation of the Christmas Eve Jazz Jam has become emblematic of a broader cultural struggle unfolding across the country, where art, politics, and identity increasingly collide.
Supporters of the rebrand say Trump’s name reflects his role in reshaping national institutions and challenging entrenched cultural elites. Critics counter that the move erodes the nonpartisan character of the arts and sets a dangerous precedent.
For many regular attendees, the immediate concern is more personal.
“This was something families looked forward to every year,” said one longtime concertgoer. “Now it’s gone—not because of logistics or funding, but because politics got in the way.”
Uncertain Future for the Kennedy Center
As legal challenges proceed and artists continue to reconsider their involvement, the Kennedy Center faces an uncertain path forward. Whether the name change will withstand congressional scrutiny or judicial review remains unclear.
What is clear is that the institution—long regarded as a neutral cultural landmark—has become a focal point in the nation’s ongoing debate over politics, power, and the role of culture in public life.
For now, one of its most cherished holiday traditions has fallen silent, replaced by a controversy that shows no sign of fading anytime soon.
Emily Johnson is a critically acclaimed essayist and novelist known for her thought-provoking works centered on feminism, women’s rights, and modern relationships. Born and raised in Portland, Oregon, Emily grew up with a deep love of books, often spending her afternoons at her local library. She went on to study literature and gender studies at UCLA, where she became deeply involved in activism and began publishing essays in campus journals. Her debut essay collection, Voices Unbound, struck a chord with readers nationwide for its fearless exploration of gender dynamics, identity, and the challenges faced by women in contemporary society. Emily later transitioned into fiction, writing novels that balance compelling storytelling with social commentary. Her protagonists are often strong, multidimensional women navigating love, ambition, and the struggles of everyday life, making her a favorite among readers who crave authentic, relatable narratives. Critics praise her ability to merge personal intimacy with universal themes. Off the page, Emily is an advocate for women in publishing, leading workshops that encourage young female writers to embrace their voices. She lives in Seattle with her partner and two rescue cats, where she continues to write, teach, and inspire a new generation of storytellers.
