On 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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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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