Joining HAMILTON in “performance protest.”

Oh, Richard Grenell is not happy.
The longtime Fox News contributor, avowed Trumpist, and radical conservative agitator was recently and ridiculously (having zero experience in the creative industries) appointed the interim director of the Kennedy Center for the Performing Arts. Of course, this was after Trump, the most artless human on earth, purged the iconic venue’s leadership and inserted himself as chairman of the board, so why not pick an utterly unqualified partisan to run (down) one of the greatest creative venues in America? That’s the philosophy that drove Trump’s cabinet picks, so his consistency is impressive.
In his new and undeserved post, Grenell has been outraged on an ongoing basis as slews of artists denounce the authoritarian takeover of the Center, some pulling out of scheduled appearances (Hamilton creator, Lin-Manuel Miranda, canceled the musical’s 2026 planned run), citing the obliteration of the Center’s mission of openness, inclusion, and creative freedom. Trump did, in fact (if unwittingly), underscore the veracity of that accusation with his Truth Social post of February after appointing Grenell:

That’s right, dammit, they’re going to make sure nothing “woke” gets up on that stage, so look forward to a roster filled with fluff, pabulum, all-white casts, and musical ditties from the 50s! 🙄
As for Les Misérables and how they fit into this brouhaha: in a stance that asserts their protest of the recent MAGA incursion, a group of the show’s actors are boycotting the June 11th performance Trump is hosting as a fundraiser for the theater. From Playbill:
The Kennedy Center performance was part of a previously scheduled stop on the musical’s tour. The cast was given the option to not perform June 11. Among those who decided not to perform are both principals and ensemble members, though the production has not disclosed exactly which company members. A request for comment had not yet been returned at the time of publication.
In response, theater neophyte Ric Grenell clenched his jaw, ground his teeth, and, in a hissy-fit of epic proportion, publicly bellowed:
“Any performer who isn’t professional enough to perform for patrons of all backgrounds, regardless of political affiliation, won’t be welcomed.’“
“In fact, we think it would be important to out those vapid and intolerant artists to ensure producers know who they shouldn’t hire — and that the public knows which shows have political litmus tests to sit in the audience.” The New York Times.
Oh, Ric, calm the fuck down.
Sputtering at this act of principle by calling for the blacklisting of involved actors is, in fact, a real-life example of applying a “political litmus test” … at a time when every single thing that promotes openness, compassion, innovation, empathy, and acceptance is deemed “woke” and, therefore, to be banished, denounced, banned, and demeaned. And kept out of the Kennedy Center. Grenell’s carping is transparent and ridiculous … but hypocrisy is the MAGA brand.
Given his lack of creative DNA, along with his unbending allegiance to the conservative/MAGA agenda, it’s safe to guess Grenell’s not particularly savvy about the creative persona … the grit and gristle that creatives are made of. Artists, performers, writers, singers, designers, actors, etc., are people who care about things like expressive freedom, inclusion, diversity and equity; who demand spaces where those principles are not only allowed and welcomed, but encouraged, not shut down and denigrated by ignorance and small-mindedness. Frankly, if Don or Ric actually knew what Les Mis was about, what themes, ideas, and principles the performers are portraying, they might’ve expected the boycott:
What is the main point of Les Misérables?
The Les Misérables revolves around the themes of inequality and social class issues. Set in France, the five-volume novel explores the struggles of people in the lower class and how they grapple with unfair treatment. It also highlights ethical dilemmas and redemption.
I mean, could that be more “woke”??
If this really is one of Trump’s “favorite musicals,” I would guess he has absolutely no clue of these “main points”; just pretends to like it (similar to his affection for the Bible, his “favorite book” despite being unable to reference any part of it). Or maybe he likes Les Mis for … what, the costumes … the music … the flags? Who the fuck knows? It’s possible he got it mixed it up with Guys & Dolls, Cats, or Mamma Mia.
It was Nina Simone who said, “An artist’s duty, as far as I’m concerned, is to reflect the times … How can you be an artist and not reflect the times? That, to me, is the definition of an artist.”
It is to me, too (see In Today’s Maddening World, Yes, BE a Creative Loudmouth). Particularly at this moment, taking a stand that reflects one’s beliefs, principles, and convictions, however unpopular, however risky, inconvenient, or even dangerous, is what artists of conscience do. Whether boycotting Trump’s ego-driven events, refusing to perform for people who diminish and demean the true value and currency of art; whether writing books that get pilloried or risk getting banned by MAGA trolls; whether being bold and innovative with one’s music, art, articles, movies or plays — whatever form of expression, whatever medium — artists reflect the times.
And these times demand a higher consciousness. They demand wisdom, vision; outspokenness. They demand courage — no, not just courage; fearlessness. The fearlessness to create art and then put that art out into the world, especially in this era of cowardice, capitulation, and complicity. True artists are born with and nurture that higher consciousness; it’s imbedded in their DNA, their psyches, their skin, bones, and brains. You can’t be an artist if you’re afraid, timid, easily cowed by strongmen with fascist agendas’ or are willing to bend to the oppression and ignorance of ignorant people. Art demands freedom. It demands audacity and guts. It demands risk-taking, standing up to the exact madness we’ve see playing out every day since the man and his cabal took over our government, wreaking authoritarianism havoc disguised as patriotism, nationalism, protectionism.
It’s none of those things, what they’re doing. We know what it is. We name what it is. And we stand up against what it is. If that means boycotting a show we love performing, cancelling a scheduled run of a production we created, risking our livelihoods and reputations, losing jobs or being blacklisted by toxic agents like Ric Grenell, so be it. People, artists, activists, have been standing up to small-minded tyrants for centuries, and those for whom freedom is essential — in life, in countries, in schools, cities, governments; in art — will continue to do so.
Yes, it is ironic that Trump claims to love Les Mis, because it’s as wise and “woke” as a musical gets. If he actually listened to its theme song, his head might explode. I think Grenell should play it for him with the lyrics printed out … or just get him a DVD of Beach Blanket Bingo and let him slide.
DO YOU HEAR THE PEOPLE SING?
Do you hear the people sing?
Singing a song of angry men?
It is the music of a people
Who will not be slaves again
When the beating of your heart
Echoes the beating of the drums
There is a life about to start
When tomorrow comes
Will you join in our crusade?
Who will be strong and stand with me?
Beyond the barricade
Is there a world you long to see?
Then join in the fight
That will give you the right to be free
Do you hear the people sing?
Singing a song of angry men?
It is the music of a people
Who will not be slaves again
When the beating of your heart
Echoes the beating of the drums
There is a life about to start
When tomorrow comes
Will you give all you can give
So that our banner may advance
Some will fall and some will live
Will you stand up and take your chance?
The blood of the martyrs
Will water the meadows of France
Do you hear the people sing?
Singing a song of angry men?
It is the music of a people
Who will not be slaves again
When the beating of your heart
Echoes the beating of the drums
There is a life about to start
When tomorrow comes
Composed by Claude-Michel Schönberg (music), Alain Boublil & Jean-Marc Natel (original French lyrics), and Herbert Kretzmer (English lyrics)


























creature, who came to us from a shelter on January 5th, literally change the tenor of our habitat with her inexhaustible energy and character. I’ve watched a husband who deals with Post Concussion Syndrome become the warm landing spot for an animal who loves him, who follows him around like a puppy; engages with him in absurd games of fetch, and with whom conversation often ensues (on both sides, mind you!). She is a delightful little being who’s brought particular and unique joy to our home and has made walking in the door an event. No small thing. We call her Georgy Girl. She occasionally likes me too.

a drowning society from a raging swamp. I spent hours, stamps, and handwritten agony (can anyone handwrite anymore??) sending out hundreds of campaign postcards for candidates around the country, and the unbelievable turnout, the overwhelming wins, the feeling that we now have a most amazingly diverse and capable group of adults stepping into the cult frenzy, is overwhelming. We did good. Let’s PLEASE make sure we do good for 2020. That’s a whole other article. But I think you know what I mean…
done just that—but both the films mentioned had me energized, engaged, entertained, and moved throughout. That’s always an amazing moviegoing experience. And A Star Is Born, particularly, not only resonated with me for all sorts of expected reasons given my band singer history, but the telling of its story touched me deeply. Both stars are phenomenal, and though I have wearied of drug & alcohol related “Behind the Music” narratives, Bradley Cooper did an extraordinary job of bringing vulnerability and true sorrow to the inexorable trajectory his character experienced. It showed a side of addiction rarely seen. And Lady Gaga… well. What can I say: listening to the fragility and crack in her voice on “I’ll Never Love Again” before it transforms into a soaring power ballad wraps me in tears and goosebumps every time.


