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Ben Folds
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Ron Filipkowski
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Ron Filipkowski
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Ben Folds
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Ron Filipkowski
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Ben Folds
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- [01:43]
Ron Filipkowski
26 now about a dozen performers have looked at Donald Trump and his phony board at the Kennedy center, which he vandalized and calls the Trump Kennedy center unlawfully. And these performers are saying we quit. We are not going to be performing for this regime. Also, attendance is down so much it's like no one's even showing up to this place. This this propaganda vandalized center by this Trump regime. So here's the latest right here. The Washington National Opera decided on Friday to move out of its longtime home and at the Kennedy center. And they've been at the Kennedy center since the 1970s and they're saying goodbye there. Now we have a list of at least 10 additional acts that have cancelled at the Kennedy Center. Hamilton, of course, the Broadway musical Chuck Red, the leader of the Kennedy Center's annual jazz jams, Christmas the Cookers, the jazz supergroup, canceled a pair of shows. Stephen Schwartz, the wicked composer, withdrew as host of the washing of the Washington National Opera gala set for May 16th. You have Issa Ray, the insecure star, canceled a sold out March 16, 2025. Stop. Bella Fleck canceled a trio of concerts with the National Symphony orchestra scheduled for February 2025. Rihanna Giddins, the Grammy winning musician canceled the May 11, 2025 concert at the Kennedy Center. Low Cut Connie, the Philadelphia rockers called off a February 2025 performance. Peter Wolf, Christy Lee, Doug Varone, Balloon, Amanda Room and others. And then of course, earlier in the year, you had Ben Folds immediately stepping down in February as an artistic advisor there at the Kennedy Center. Shonda Rhimes, Renee Fleming and others. And you remember, you may remember, we interviewed Ben Folds back in February when he resigned right away. As soon as the Trump regime said that they were changing that board and they were going to be intervening with their propaganda, he was like, I am gone. He resigned from the National Symphony Symphony Orchestra. As Trump seized the center, his statement was given the developments at the Kennedy center, effective today, I am resigning as the advisor to the National Symphony Orchestra. The not for me, he said. And again, you may remember that interview that I did with him, which has since gone mega viral. Over two and a half million views. Here's what some DC Residents are saying about the vandalizing of the Trump with Trump calling it the Trump Kennedy center and vandalizing it by plastering his name on it. Here, play this clip. Feeling like democracy died today. This is history happening today. And we should all be shocked, shocked that a felon, a convicted felon and a thug and by all means a grifter has just stuck his name on top of a national monument. This is a desecration. Here's what Jim Acosta had to say when he was there that day. Let's play it.
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Jim Acosta
Well, here we are at the scene of yet another crime committed by Donald Trump. He has vandalized the Kennedy center by putting his name on it. And he just needs to understand that first of all, he can't do this single handedly. Only Congress can authorize a change of name that the Kennedy Center. Yet he doesn't care about the law. He doesn't care what is appropriate. He's gone and vandalized the Kennedy center, which is, we should note, the John F Kennedy Memorial center for the Performing Arts. It was named after President Kennedy after he was assassinated. Donald Trump should show some respect for that, but of course, he doesn't do that. And, you know, this is what needs to be said. We, the American people, are not going to call the Kennedy center, the Trump Kennedy center, just like we're not going to call the Department of Defense, the Department of War, or the Gulf of Mexico, the Gulf of America. We, the sane, rational American people, are not going to go along with that. So Trump can act like a child, he can be a vandal, put his name up on all of these buildings, but it's not going to change what the rest of us do. In response to what has been a childish and lawless administration.
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Ron Filipkowski
Now I want to bring in Ben Folds, American singer, songwriter and composer Ben Folds. Great to have you back on the Midas Touch Network. And we interviewed you when you resigned as artistic advisor to the National Symphony Orchestra back in February. A lot has happened since our last interview. Talk to us about what you're seeing right now with Trump vandalizing. How do you contextualize all this?
- [06:40]
Ben Folds
Well, it's, it's, it's really sad. It, you know, the, the Kennedy center had so many great missions and it is a memorial as well. It's, it's, it's as close to sacred stuff as you can get for our federal government. But, you know, aside from that, it really is playing out roughly the way that it felt it would for me a year ago. And I'm not saying that I understood how events would unfold exactly, but it was clearly the first step of, it was an authoritarian move. It was an authoritarian first step. And like, obviously they weren't going to start by trying to steamroll or late night comedians. They thought they would run over us first. And that's, that's much easier because it's close to home and they know what they're, you know, how to do it. But now the things that are happening are no surprise because that's, you know, it wasn't just him. I think people misunderstand. It's not just him going in, wanting to book bands or something. You know, it's, it's commandeering. You know, the government's the arts, and then from there that's expression, that's freedom of expression. And from there you move on to the networks and to Stephen Colbert and Jimmy Kimmel in 60 Minutes and you just keep steamrolling. So I was sick on my stomach when I quit because one, I knew they were going to Run in the ground. No one that they were appointing had any experience in arts administration. But that was never the point. Point was to take that, run over it and move on. So it's rotting over, you know, next to the Potomac Tamic in the moment. And it's like, it's just sad.
- [08:22]
Ron Filipkowski
You know, one of the things that we talked about back in February was how this, how the Kennedy center was actually a place where people who fled repressive regimes whose artistic endeavors and pursuits were harmed and squashed by authoritarians could play the National Symphonyography. You talked about the history of some of these composers here who played at the Kennedy center as a celebration of freedom that they found in the United States. And so you as a student of history, saw the moment that Donald Trump was doing what he did with that board. You said this is just authoritarian. One on one. Talk to us about that unique history of the.
- [09:06]
Ben Folds
Yeah, well, the Kennedy center and well, the National Symphony Orchestra, who of course was an orchestra before the Kennedy center was there. They're a separate entity. They're just trapped in the building right now. But the, the National Symphony Orchestra, one of the first directors of the orchestra was Rostropovich. His name is so long that everyone just calls him Slava. And he was, he was Shostakovich, who's famous, Dmitri Shostakovich, famous composer. He was basically his right hand man, an incredible cellist and a great conductor. And he fled the Soviet Union and he found himself the director of the National Orchestra 70 Orchestra at the Kennedy Center. And you know, like his homie Shostakovich, Shostakovich was constantly in danger of being arrested, his friends being arrested, tortured, killed because he was trying to make artistic stands. So what, you know, when you see, you know, a place being taken over like that, you can think about what, what Slavo would have thought coming from the USSR and being able to express himself, being able to play his, his, you know, his friend's music, Shostakovich there without being threatened because the, the government had no say. Politics, government dictator has no say over the arts. You leave that alone. That's for the people when they want to take that over. That's just propaganda. And so that is what made me sick to begin with. And nothing that's unfolding now seems surprising. Putting Trump's name on the place. It is, it's like, yeah, it's like he's, you know, spray painted his name on the side of it, but it's still the center. It was, it's just being held hostage at the moment. And I'M kind of. In some ways, I think it's like, it reminds me of the picture, the photograph of. Or the footage of Hitler in front of the Eiffel Tower. Like, look. Look what I've got. You know, that's what it seems like when he put his name on it.
- [11:20]
Ron Filipkowski
What does it tell you, though, when you see the resignations and the other individuals quitting, you know, and everybody has their own time for it? You know, I. I don't fault someone who waited a little bit later or whatever. I mean, you know, you took the stand when you did because. Because you saw what was happening and you studied history that way. But what do you make of what's happening? Especially when it's like the Washington National Opera that's been there, you know, for 50, basically 50 years. And then what do you say to other individuals there who are performing, but they're uncomfortable and they don't. And they're afraid, are we going to get sued by Rick Grinnell? And he's like, how do you navigate this? First, what does it say to you about the resignations? How do you think people navigate it?
- [12:08]
Ben Folds
Well, it's tricky because it's really different for everybody. I mean, for instance, my friends in the National Symphony Orchestra, some of them have varying views about how they should be handling this, but nobody's happy or inspired by it. They're really worried about their jobs, and they're in a different position than me. I was in a position to draw attention to this, and I knew that as a curator, that there's no way that I could curate fairly and safely. I can't bring an artisan who might have different views than Rick Grinnell or Trump. I can't bring those people in. Like, look, they had Yasmin Williams, you know, booed that they paid to do it. So, yeah, I think that everyone has to find their own space there. I personally would. Wouldn't, Wouldn't touch the place while it's. While it's nuclear right now, because I don't think that you're really. I don't. I wouldn't feel safe playing there. I wouldn't think that I was in good hands. I wouldn't think people are going to show up, even if I'm just going to be a total capitalist about it. It's like, yeah, let the market speak. How's the Kennedy center doing? Oops, don't play there. That venue. That venue can't draw a crowd, so they don't know what they're doing there. So I don't See any reason to be there now. You know, like an organization like the, the. The Opera, they have a board, they have all kinds of contracts with them. We'll see what happens. But the individuals that work for them are just people trying to make a living in the arts, and they just got to show up at work. And, and it's. It's really, really unfortunate. It's really sad. It makes me sad for all of them.
- [13:53]
Ron Filipkowski
You know, as a student of history, you, you foreseeing. I mean, look, when, when Trump won and started these pronouncements, seemed it was going in a direction, but, you know, recognizing what it meant. When he had his eye on the Kennedy center, you know, you were able to say that, you know, there's something specific about this view of dominating cultural zeitgeist. That's that authoritarians in the past have seized on and he has that, you know, demented, malignant, narcissistic grasp. But like, now, where we're at, you know, we're a year into this thing. You know, there have been big no Kings protests that the institutions have bent and many have broken. There's resiliency in the people. So how do you see where we are kind of right now, January mid to beginning of January 2026. And what do you want to see?
- [14:55]
Ben Folds
Well, I think, you know, artists. It's the same as I felt a year ago. I think that the responsibility and the right of. Of artists is to express honestly.
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Ron Filipkowski
And.
- [15:11]
Ben Folds
And it's a little bit sometimes like reportage, you know, it's a little bit like, like journalism. And, And I think that that is what artists need to do right now. While we still can't, obviously, you don't have to do it at the Kennedy Center. It was an amazing place with an amazing mission and all kinds of, you know, access to facilities, and it was beautiful. And by the way, it used to make, you know, used to make some money, and now it's like not run well, but the artist right now we should all be expressing ourselves with. No, there was a time, I think, and I came up in this era of the 90s, this sort of shut up and sing era, where you're worried you're going to alienate your artist. I think right now is the time to absolutely stand up and express yourself. If that's political, do it. If it's social, do it. If it's what you love for lunch, hey, that's fine, too. But be honest in your reporting, because you may not have that luxury if we keep going. Like, we're going better to do it now. Better to show up at the protest now than have to show up in the protest in a year and worried about getting, you know, jailed and killed. It's now is the time to, and the artist's job has always been to be a little ahead of the curve where things are going. The, the artist can explain that in terms that no one else is allowed to. It doesn't have to make sense. It has to feel right and that's what moves people and the reason the arts are important and all these people said they weren't important that were that we're on the right side of the government. Arts don't matter, we don't need to fund it. Boy, they sure thought it was important when it came to the Kennedy Center. They took that over in like one month. So the arts are important and the artist is really needed right now.
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Ron Filipkowski
Yeah. And I see that you're part of the lineup of the Grant Park Music Festival in Chicago and you're playing in other venues where you're, where you're giving people hope there and areas too that, you know, the Trump regime is, is, is, is attacking and so, and, but, but, but before we go, any, anything else you want you wanted to mention before we go?
- [17:25]
Ben Folds
No, no, I, I, you know, I think it, it when the, when the National Symphony Orchestra has opportunities to play like at Wolf Trap and they're playing other venues, I really would love to see people in the D.C. area support that. The National Symphony Orchestra is not the Kennedy center and, and they're some of the finest musicians in the country and they're just basically held hostage inside a building with someone spray painted their name on the outside. No one shows up to the shows anymore. And that's what I would tell people.
- [17:57]
Ron Filipkowski
Ben Folds, thanks for joining us again.
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Ben Folds
Thanks man.
- [18:01]
Ron Filipkowski
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