Speaking truth to tyrants is always risky. But those who do—and survive—can find consolation in knowing they have done something few others have dared to do.
Two women—one Russian, the other American—have had this experience.
Maria Veniaminovna Yudina (1899 – 1970) was a gifted pianist who joined the piano faculty of the Moscow Conservatory in 1936, where she taught until 1951.
Maria Yudina
From 1944 to 1960, Yudina taught chamber ensemble and vocal class at the Gnessin Institute. In 1960, she was fired from the Institute because of her religious beliefs and championing of modern Western music.
She continued to perform in public, but her recitals were forbidden to be recorded. At one of her recitals in Leningrad, she read Boris Pasternak’s poetry from the stage as an encore.
For that, Yudina was banned from performing for five years. In 1966, when the ban was lifted, she gave a cycle of lectures on Romanticism at the Moscow Conservatory.
Although born into a Jewish family, she joined and remained a devout member of the Russian Orthodox Church.
Perhaps her most courageous act occurred during the last years of the reign of Joseph Stalin. The Soviet dictator was responsible for the deaths of 20 to 25 million people—through execution, famine, torture, imprisonment and deportations.
Joseph Stalin
One night in 1944, Stalin, listening to the radio, heard a performance of Mozart’s Piano Concerto No. 23. Yudina had played the piano, backed up by a full orchestra.
Stalin, impressed, ordered that an envelope containing 20,000 rubles be sent to Yudina.
According to Russian composer and pianist Dimitri Shostakovich, Yudina then did the unthinkable.
In his posthumously-published memoirs, Testimony, Shostakovich writes that Yudina sent Stalin a letter almost certain to result in her arrest.
The gist of the letter: “I thank you, Iosif Vissarionovich, for your aid.
“I will pray for you day and night and ask the Lord to forgive your great sins before the people and the country. The Lord is merciful and He will forgive you. I gave the money to the church that I attend.”
Stalin read the letter to his inner circle. Although he could have destroyed Yudina as easily as killing a fly, he set aside the letter and did nothing.
Yudina’s recording of Mozart’s Piano Concerto No. 23 was on Stalin’s record player when he collapsed with a cerebral hemorrhage on March 1, 1953. It was the last music he had listened to.
Shostakovich believed that Stalin was superstitious—and it was this that saved Yudina.
Throughout her life, Yudina remained an uncompromising critic of the Soviet regime. She died in Moscow in 1970.
Seventy-four years later, another woman—Michelle Wolf—dared speak truth to a tyrant in a different way.
Wolf (1985 – ) is an American comedian and writer. In 2007, she graduated from the College of William & Mary, a public research university in Williamsburg, Virginia. Her major: Kinesiology (the scientific study of human or non-human body movement.
She decided to enter the comedy world and made her first appearance on late-night television in 2014, on Late Night with Seth Meyers. She made repeated appearances on the show, A regular at the Comedy Cellar in New York City, she joined The Daily Show with Trevor Noah in 2016
Michelle Wolf
In 2017, she made her HBO stand-up debut, Michelle Wolf: Nice Lady.
On April 28, 2018, she hosted the annual White House Correspondents Dinner.
Traditionally, it’s been an occasion where Washington’s political and media elites enjoy dinner and trade barbed quips at one another.
But President Donald Trump chose to skip the dinner in 2017 and 2018. Trump—who repeatedly insults others—is too thin-skinned to accept even harmless jokes aimed at him.
That, however, didn’t deter Wolf. And she served up a series of barbed jokes aimed at the greed, deceit and hypocrisy of high-ranking Trump administration officials. Among these:
- [Trump] loves white nationalists, which is a weird term for a Nazi. Calling a Nazi a white nationalist is like calling a pedophile a kid friend or Harvey Weinstein a ladies’ man.
- [Vice President] Mike Pence is a weirdo, though. He’s a weird little guy. He won’t meet with other women without his wife present. When people first heard this, they were like, “That’s crazy.” But now, in this current climate, they’re like, “That’s a good witness.”
- A tree falls in the woods is [Environmental Protection Agency director] Scott Pruitt’s definition of porn. Yeah, we all have our kinks.
But Wolf also had plenty of jabs for assembled media bigwigs.
- The most useful information on CNN is when Anthony Bourdain tells me where to eat noodles.
- People want me to make fun of [Fox News host] Sean Hannity tonight, but I cannot do that; this dinner is for journalists.
Wolf’s jokes—especially those about White Hose Press Secretary Sarah Huckabee-Sanders—triggered harsh attacks in turn from Trump officials and media critics.
But Jimmy Kimmel—who has also performed at the correspondents dinner—tweeted:
“Michelle did exactly what she should do, which was [to] upset everybody. That’s the role of a commentator and a bomb thrower and a comedian. Your job is not to make people comfortable and your job is definitely not to stay within the line. Your job is to say the things that make people uncomfortable and upset.”
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TRUMP JOINS THE RANKS OF ART-TWISTING DICTATORS
In Bureaucracy, Entertainment, History, Politics, Social commentary on January 15, 2026 at 12:06 amOn December 18, 2025, The John F. Kennedy Memorial Center for the Performing Arts became The Donald Trump and John F. Kennedy Memorial Center for the Performing Arts.
And all that it took for this to happen was for Trump’s handpicked board overseeing the John F. Kennedy Center to declare: “We’re adding Trump’s name to this building.”
Specifically, White House Press Secretary Karoline Leavitt announced on X: “I have just been informed that the highly respected Board of the Kennedy Center, some of the most successful people from all parts of the world, have just voted unanimously to rename the Kennedy Center to the Trump-Kennedy Center, because of the unbelievable work President Trump has done over the last year in saving the building.”
Donald Trump
This totally ignored three vital truths:
First, in 1955, President Dwight D. Eisenhower established a commission for a new public auditorium to showcase the performing arts in the nation’s capital. It was to be called The National Cultural Center.
Second, in January, 1964, two months after the assassination of President John F. Kennedy, Congress passed and President Lyndon B. Johnson signed into law legislation renaming the Center as a “living memorial” in his honor: The John F. Kennedy Memorial Center for the Performing Arts.
Third, adding Trump’s name to the Center legally would require a similar act of Congress—which has not occurred.
Thus, putting Trump’s name on the building without a Congressional act carries all the legitimacy of a graffiti vandal spray-painting his name on the Center.
Trump spent most of 2025 putting his stamp on the Center. First he purged most of the board that governs the institution. Then he replaced its members with pliable ideologues and sycophants, capped by installing itself as the new chairman.
On December 18, his underlings blatantly renamed the center itself.
Given Trump’s well-known admiration for dictators such as Vladimir Putin, Xi Jinping and Kim Jong-Un, it was inevitable that he would seek to remake the arts in his own image.
In doing so, he’s following in the footsteps of propaganda-obsessed tyrants like Joseph Stalin and Adolf Hitler
Consider this blurb from the 2015 nonfiction book, Fear and the Muse Kept Watch: The Russian Masters from Akhmatova and Pasternak to Shostakovich and Eisenstein Under Stalin, by Andy McSmith:
“For those artists visible enough for Stalin to take an interest in them, it was Stalin himself who decided whether they lived in luxury or were sent to the Lubyanka, the headquarters of the secret police, to be tortured and sometimes even executed.
“McSmith brings together the stories of these artists―including [writer] Isaac Babel, [poet and novelist] Boris Pasternak, [composer] Dmitri Shostakovich, and many others―revealing how they pursued their art under Stalin’s regime and often at great personal risk.
“It was a world in which the poet Vladimir Mayakovsky, whose bright yellow tunic was considered a threat to public order under the tsars, struggled to make the communist authorities see the value of avant garde art; Babel publicly thanked the regime for allowing him the privilege of not writing; and Shostakovich’s career veered wildly between public disgrace and wealth and acclaim.”
Adolf Hitler similarly installed himself as the arbiter of culture in Nazi Germany.
In Hitler and the Power of Aesthetics, Frederic Spotts argues that Hitler saw the world corrupted by “evils” he must first destroy so he could re-create it to conform to his artistic ideals.
Hitler considered himself an unappreciated artist. At 18, he had applied for admission to the Academy of Fine Arts Vienna, but was rejected twice. If he had a friend, it was the architect Albert Speer, with whom he felt an artistic kinship.
Even as the Third Reich collapsed, he found time to pore over architectural models he intended to turn into gigantic buildings.
In Hitler’s Germany, culture was not only the end to power but the means of achieving it. His artistry—expressed in spectacles, festivities, parades, rallies and political dramas, as well as in architecture, painting and music—destroyed any sense of individuality and linked the German people with his own drives.
Like Hitler, Trump sees himself as an unrecognized artist. Of the 515 entities he owns, 268 of them—52%—bear his last name. He often refers to his properties as “the swankiest,” “the most beautiful.”
Upon his return to the Presidency in 2025, he turned his “artistic” gifts on the White House. On June 9, contractors began paving over the grass of the White House Rose Garden with stone tiles to create a patio.
Again like Hitler, Trump believes that “bigger is better” in architecture.
On July 31, 2025, the Trump administration announced that a 90,000 square feet addition would be made to the White House to incorporate a 650-person capacity ballroom. In October, Trump ordered the demolition of the White House’s historic East Wing to clear space for it.
The estimated cost has ballooned from $200 million to $400 million.
Trump has repeatedly pushed to enlarge the ballroom—from a 90,000-square-feet addition capable of seating 650 guests to one that can seat, first, 999 guests and then to 1,000 guests at formal dinners.
Tyrants always hail such projects as “gifts for the nation.” In reality, they are self-glorifying monuments to the dictator’s own ego.
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