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In what might be the most decisive critique yet of President Trump’s remake of the Kennedy Center, the Washington National Opera’s board approved a resolution on Friday to leave the venue it has occupied since 1971.

“Today, the Washington National Opera announced its decision to seek an amicable early termination of its affiliation agreement with the Kennedy Center and resume operations as a fully independent nonprofit entity,” the company said in a statement to the Associated Press.

Roma Daravi, Kennedy Center’s vice president of public relations, described the relationship with Washington National Opera as “financially challenging.”

“After careful consideration, we have made the difficult decision to part ways with the WNO due to a financially challenging relationship,” Daravi said in a statement. “We believe this represents the best path forward for both organizations and enables us to make responsible choices that support the financial stability and long-term future of the Trump Kennedy Center.”

Kennedy Center President Ambassador Richard Grenell tweeted that the call was made by the Kennedy Center, writing that its leadership had “approached the Opera leadership last year with this idea and they began to be open to it.”

“Having an exclusive relationship has been extremely expensive and limiting in choice and variety,” Grenell wrote. “We have spent millions of dollars to support the Washington Opera’s exclusivity and yet they were still millions of dollars in the hole – and getting worse.”

WNO’s decision to vacate the Kennedy Center’s 2,364-seat Opera House comes amid a wave of artist cancellations that came after the venue’s board voted to rename the center the Donald J. Trump and the John F. Kennedy Memorial Center for the Performing Arts. New signage featuring Trump’s name went up on the building’s exterior just days after the vote while debate raged over whether an official name change could be made without congressional approval.

That same day, Rep. Joyce Beatty (D-Ohio) — an ex officio member of the board — wrote on social media that the vote was not unanimous and that she and others who might have voiced their dissent were muted on the call.

Grenell countered that ex officio members don’t get a vote.

Cancellations soon began to mount — as did Kennedy Center‘s rebukes against the artists who chose not to appear. Jazz drummer Chuck Redd pulled out of his annual Christmas Eve concert; jazz supergroup the Cookers nixed New Year’s Eve shows; New York-based Doug Varone and Dancers dropped out of April performances; and Grammy Award-winning banjo player Béla Fleck wrote on social media that he would no longer play at the venue in February.

WNO’s departure, however, represents a new level of artist defection. The company’s name is synonymous with the Kennedy Center and it has served as an artistic center of gravity for the complex since the building first opened.

Jan. 8 (UPI) — As the Philippines takes over the rotating Association of Southeast Asian Nations chair in 2026, it will do so at a moment of sharpened maritime tension and narrowing diplomatic patience in the South China Sea.

Manila has made clear it intends to prioritize two parallel initiatives that reflect the region’s evolving reality: renewed efforts to finalize a legally binding code of conduct with China and a dramatic expansion of U.S.-Philippines military cooperation, with more than 500 joint activities planned for the year.

Taken together, the dual-track strategy underscores how Southeast Asia’s maritime order is being reshaped. Diplomacy remains essential, but it is increasingly paired with deterrence and preparedness, reflecting a regional judgment that rules alone are insufficient without the capacity to defend them.

The Philippines is moving to fast-track a binding code of conduct after decades of inconclusive talks, using its ASEAN chairmanship to push for enforceable rules rather than voluntary guidelines.

“The Philippines will push for a binding COC at the same time continue to strengthen defense ties with the United States, as well as other partners like Japan, Australia and others,” said Lucio Pitlo III, a foreign affairs and security analyst at Asia-Pacific Pathways for Progress Foundation.

Yet, the limits of ASEAN consensus diplomacy remain evident. Member states hold differing threat perceptions and economic dependencies, while China has resisted provisions that could constrain its operational flexibility or legitimize external involvement.

Analysts have argued that, with Manila chairing, a comprehensive agreement is unlikely to be concluded in 2026 given the temperature of China-Philippines tensions – though the chair can still steer narrower confidence-building steps and agenda-setting wins.

“I would not expect a binding code of conduct in the South China Sea to materialize regardless of who is ASEAN Chair,” said Hunter Marston, senior fellow at the Washington, D.C.-based Center for Strategic & International Studies.

As ASEAN chair in 2026, Manila is expected to press for a more active multilateral role in managing South China Sea disputes, seeking to use regional dialogue to dampen tensions when incidents erupt.

Philippine officials, however, are also likely to lean more heavily on bilateral channels with Beijing to manage flashpoints in real time. Chief among them is the Philippines-China Bilateral Consultative Mechanism, a forum designed to contain maritime flare-ups before they escalate into broader diplomatic or security crises, reflecting Manila’s effort to balance regional solidarity with the practical need for direct engagement with China.

Even so, chairmanship confers agenda-setting power. Manila can steer negotiations toward narrower but meaningful gains, such as clearer incident-avoidance protocols, standardized communications between maritime forces and provisions that explicitly address coast guards and maritime militias, which are now central actors in most confrontations.

In that sense, 2026 may be less about delivering a final document than about clarifying whether a credible code of conduct remains politically attainable.

“The progress on CoC isn’t necessarily hinged heavily on who holds the ASEAN chairmanship, though in some ways the ASEAN member state holding onto this position might influence or shape the direction it takes,” said Colin Koh, senior fellow of the S. Rajaratnam School of International Studies.

That diplomatic push unfolds against a backdrop of persistent friction at sea. Confrontations near Second Thomas Shoal, Sabina Shoal and other contested features have increasingly involved water cannons, ramming incidents and aggressive maneuvering, often targeting Philippine resupply missions and civilian fishing vessels.

Each episode reinforces Manila’s view that restraint has not been reciprocated, and that negotiations conducted without leverage risk entrenching, rather than moderating, coercive behavior.

This is where the second pillar of the Philippines’ 2026 strategy becomes decisive. Plans for more than 500 U.S.-Philippines joint military activities represent a significant escalation in tempo and scope, even in the absence of a single marquee exercise.

The schedule encompasses everything from staff-level planning and logistics coordination to maritime domain awareness, coastal defense drills and repeated operational rehearsals across air, land and sea domains.

“Having the Philippines as chairman, particularly under the U.S. friendly Marcos administration, is useful to the U.S. agenda in the region,” said Elizabeth Larus, adjunct senior fellow at the Pacific Forum.

She also underscored the critical importance of Trump-Marcos security accord in preventing China from displacing the United States as the dominant maritime power in the region.

The scale of this cooperation carries implications that extend well beyond symbolism. A Philippine maritime force that trains continuously with U.S. counterparts becomes harder to coerce at sea, raising the operational and political costs of gray-zone pressure in contested waters. In a region where presence, response time and narrative control often determine outcomes, that shift matters.

“China is likely to emphasize the Philippine defense cooperation with the United States over a Philippine-led ASEAN agenda that emphasizes legal norms and [United Nations Convention on the Law of the Sea],” said Khang Vu, a visiting scholar in political science at Boston College.

The volume of combined activities also accelerates alliance integration in less visible but more consequential ways. Regular staff talks, shared surveillance practices and logistics planning embed interoperability as a standing condition rather than a crisis response.

For regional observers, the message is unmistakable: U.S.-Philippines security cooperation is becoming structural, not episodic, and is likely to endure regardless of short-term political fluctuations.

By pairing expanded readiness with a renewed push for a binding code of conduct, Manila also is reframing diplomacy. The Philippines is signaling to ASEAN partners that engagement with China should proceed from a position of resilience, not restraint alone.

In practice, this reflects a broader regional reassessment that negotiations over the South China Sea will only carry weight if backed by credible capacity to resist coercion when rules are tested.

For ASEAN, the Philippine chairmanship will test the concept of “ASEAN centrality” under far less forgiving conditions than in previous decades.

While ASEAN remains indispensable as a diplomatic convener, the region’s most consequential security dynamics increasingly run through alliances and mini-lateral arrangements rather than consensus forums. The challenge for Manila will be to preserve ASEAN’s relevance without pretending that diplomacy alone can manage today’s risks.

Maritime relations in 2026 will be defined less by stability than by tempo, with a surge in patrols, surveillance flights and military exercises raising the risk of miscalculation and making clear rules of engagement and crisis hotlines more critical than ever.

At the same time, legitimacy at sea is becoming as important as capability. Each encounter is now fought on two fronts: on the water and in the information space.

Competing claims of lawful defense versus provocation, sovereign rights versus external interference, shape international perceptions and diplomatic alignments. How states behave during routine encounters may ultimately matter as much as formal agreements signed at the negotiating table.

The Philippines’ 2026 approach signals that the era of quiet accommodation in the South China Sea is over, with Manila pressing for binding rules while bolstering its military posture.

Whether that strategy stabilizes the region will depend on whether China and other regional actors are willing to translate pledges of restraint into behavior at sea, but the Philippine chairmanship already is set to shape how maritime order is contested in the years ahead.

The Kennedy Center is ending the year with a new round of artists saying they are canceling scheduled performances after President Donald Trump’s name was added to the facility, prompting the institution’s president to accuse the performers of making their decisions because of politics.

The Cookers, a jazz supergroup that has performed together for nearly two decades, announced their withdrawal from “A Jazz New Year’s Eve” on their website, saying the “decision has come together very quickly” and acknowledging frustration from those who may have planned to attend.

Doug Varone and Dancers, a dance group based in New York, said in an Instagram post late Monday they would pull out of a performance slated for April, saying they “can no longer permit ourselves nor ask our audiences to step inside this once great institution.”

Those moves come after musician Chuck Redd canceled a Christmas Eve performance last week. They also come amid declining sales for tickets to the venue, as well as news that viewership for the Dec. 23 broadcast of the Kennedy Center Honors — which Trump had predicted would soar — was down by about 35% compared to the 2024 show.

The announcements amount to a volatile calendar for one of the most prominent performing arts venues in the U.S. and cap a year of tension in which Trump ousted the Kennedy Center board and named himself the institution’s chairman. That led to an earlier round of artist pushback, with performer Issa Rae and the producers of “Hamilton” canceling scheduled engagements while musicians Ben Folds and Renee Fleming stepped down from advisory roles.

The Cookers didn’t mention the building’s renaming or the Trump administration but did say that, when they return to performing, they wanted to ensure that “the room is able to celebrate the full presence of the music and everyone in it,” reiterating a commitment “to playing music that reaches across divisions rather than deepening them.”

The group may not have addressed the Kennedy Center situation directly, but one of its members has. On Saturday, saxophone player Billy Harper said in comments posted on the Jazz Stage Facebook page that he “would never even consider performing in a venue bearing a name (and being controlled by the kind of board) that represents overt racism and deliberate destruction of African American music and culture. The same music I devoted my life to creating and advancing.”

According to the White House, Trump’s handpicked board approved the renaming. Harper said both the board “as well as the name displayed on the building itself represents a mentality and practices I always stood against. And still do, today more than ever.”

Richard Grenell, a Trump ally whom the president chose to head the Kennedy Center after he forced out the previous leadership, posted Monday night on X, “The artists who are now canceling shows were booked by the previous far left leadership,” intimating the bookings were made under the Biden administration.

In a statement Tuesday to The Associated Press, Grenell said the ”last minute cancellations prove that they were always unwilling to perform for everyone — even those they disagree with politically,” adding that the Kennedy Center had been “flooded with inquiries from real artists willing to perform for everyone and who reject political statements in their artistry.”

There was no immediate word from Kennedy Center officials about whether the entity would pursue legal action against the latest round of artists to cancel performances. Following Redd’s cancellation last week, Grenell said he would seek $1 million in damages for what he called a “political stunt.”

Not all artists are calling off their shows. Bluegrass banjoist Randy Barrett, scheduled to perform at the Kennedy Center next month, told the AP he was “deeply troubled by the politicization” of the venue and respected those who had canceled but feels that “our tribalized country needs more music and art, not less. It’s one of the few things that can bring us together.”

President John F. Kennedy was assassinated in 1963, and Congress passed a law the following year naming the center as a living memorial to him. Scholars have said any changes to the building’s name would need congressional approval; the law explicitly prohibits the board of trustees from making the center into a memorial to anyone else, and from putting another person’s name on the building’s exterior.

More artists have canceled scheduled performances at the Kennedy Center following the addition of President Donald Trump’s name to the facility, with jazz supergroup The Cookers pulling out of a planned New Year’s Eve concert, and the institution’s president saying the cancellations belie the artists’ unwillingness to see their music as crossing lines of political disparity.

The fresh round of cancellations after Trump put his name of the building follows an earlier artist backlash in spring. After Trump ousted the Kennedy Center board and named himself the institution’s chairman in February, performer Issa Rae and the producers of “Hamilton” cancelled scheduled engagements while musicians Ben Folds and Renee Flaming stepped down from advisory roles.

The Cookers, a jazz supergroup performing together for nearly two decades, announced their withdrawal from “A Jazz New Year’s Eve” on their website, saying the “decision has come together very quickly” and acknowledging frustration from those who may have planned to attend.

The group didn’t mention the building’s renaming or the Trump administration but did say that, when they return to performing, they wanted to ensure that “the room is able to celebrate the full presence of the music and everyone in it,” reiterating a commitment “to playing music that reaches across divisions rather than deepening them.”

The group may not have addressed the Kennedy Center situation directly, but one of its members has. On Saturday, saxophone player Billy Harper said in comments posted on the Jazz Stage Facebook page that he “would never even consider performing in a venue bearing a name (and being controlled by the kind of board) that represents overt racism and deliberate destruction of African American music and culture. The same music I devoted my life to creating and advancing.”

According to the White House, Trump’s handpicked board approved the renaming. Harper said both the board, “as well as the name displayed on the building itself represents a mentality and practices I always stood against. And still do, today more than ever.”

Richard Grenell, a Trump ally whom the president chose to head the Kennedy Center after he forced out the previous leadership, posted Monday night on X that “The artists who are now canceling shows were booked by the previous far left leadership,” intimating the bookings were made under the Biden administration.

In a statement to the Associated Press, Grenell said Tuesday the ”last minute cancellations prove that they were always unwilling to perform for everyone — even those they disagree with politically,” adding that the Kennedy Center had been “flooded with inquiries from real artists willing to perform for everyone and who reject political statements in their artistry.”

There was no immediate word from Kennedy Center officials if the entity would pursue legal action against the group, as Grenell said it would after musician Chuck Redd canceled a Christmas Eve performance. Following that withdrawal, in which Redd cited the Kennedy Center renaming, Grenell said he would seek $1 million in damages for what he called a “political stunt.”

President John F. Kennedy was assassinated in 1963, and Congress passed a law the following year naming the center as a living memorial to him. Scholars have said any changes to the building’s name would need congressional approval; the law explicitly prohibits the board of trustees from making the center into a memorial to anyone else, and from putting another person’s name on the building’s exterior.

Kinnard writes for the Associated Press. AP writers Steven Sloan and Hillel Italie contributed to this report.

NEW YORK — A planned Christmas Eve jazz concert at the Kennedy Center, a holiday tradition dating back more than 20 years, has been canceled. The show’s host, musician Chuck Redd, says that he called off the performance in the wake of the White House announcing last week that President Trump’s name would be added to the facility.

As of Friday, the building’s facade reads The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts. According to the White House, the president’s handpicked board approved the decision, which scholars have said violates the law. Trump had been suggesting for months he was open to changing the center’s name.

“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 told the Associated Press in an email Wednesday. Redd, a drummer and vibraphone player who has toured with everyone from Dizzy Gillespie to Ray Brown, has been presiding over holiday “Jazz Jams” at the Kennedy Center since 2006, succeeding bassist William “Keter” Betts.

The Kennedy Center did not immediately respond to email seeking comment. The center’s website lists the show as canceled.

President Kennedy was assassinated in 1963, and Congress passed a law the following year naming the center as a living memorial to him. Kennedy niece Kerry Kennedy has vowed to remove Trump’s name from the building once he leaves office and former House historian Ray Smock is among those who say any changes would have to be approved by Congress.

The law explicitly prohibits the board of trustees from making the center into a memorial to anyone else, and from putting another person’s name on the building’s exterior.

Trump, a Republican, has been deeply involved with the center named for an iconic Democrat after mostly ignoring it during his first term. He has forced out its leadership, overhauled the board while arranging for himself to head it and hosted this year’s Kennedy Center honors, breaking a long tradition of presidents mostly serving as spectators. The changes at the Kennedy Center are part of the president’s larger mission to fight “woke” culture at federal cultural institutions.

Numerous artists have called off Kennedy Center performances since Trump returned to office, including Issa Rae and Peter Wolf. Lin-Manuel Miranda canceled a planned production of “Hamilton.”

Italie writes for the Associated Press.

Phillip Danault’s decreasing role with the Kings led to the veteran two-way center getting an opportunity for a fresh start in a familiar setting after being traded to the Montreal Canadiens on Friday.

The Kings acquired a second-round draft pick while also freeing up salary-cap space and ice time for other players in the trade reached just before the NHL holiday roster freeze on Saturday. The draft pick the Kings landed is one Montreal previously acquired in a trade with the Columbus Blue Jackets.

Prompting the move for the Kings was the development of Quinton Byfield and Alex Laferriere, and the offseason additions of Joel Armia and Corey Perry. General manager Ken Holland also expressed a desire to provide more playing time for Alex Turcotte and second-year center Samuel Helenius.

“Phil’s role changed here, got reduced on the penalty killing and on the power play. It’s been a bit of a struggle here offensively for Phil since the start of the year,” Holland said on a video call.

“So I found a trading partner, and I think it’s going to be good for Phil,” he added. “He gets to go back to a city where he had a lot of success. And we get a second-round pick and obviously we see some cap space to use going forward.”

Danault was in the fifth season of a six-year, $33 million contract he signed with the Kings in the summer of 2021.

The 32-year-old Danault, who topped 40 points in each of his first four seasons with the Kings, hasn’t scored a goal and has just five assists in 30 games, while missing the past four with an illness. Holland said he consulted with Danault and his agent in opening trade discussions before landing what he believed was the best offer.

Danault, who is from Victoriaville, Quebec, returns to Montreal where he spent six seasons and established himself as one of the league’s better defensive-minded forwards.

He had 54 goals and 194 points in 360 games with Montreal over a stretch that ended with the Canadiens reaching the 2021 Stanley Cup Final, which they lost in five games to Tampa Bay.

Danault was selected in the first round of the 2011 draft by Chicago, and spent his first two seasons with the Blackhawks before being traded to Montreal.

The Canadiens add a 12-year veteran to a young, up-and-coming team that reached the playoffs last season for the first time since 2021, and is in the thick of a tightly packed race. At 18-12-4, Montreal enters Saturday eighth in the Eastern Conference standings with eight points separating the last-place Blue Jackets and second-place Washington Capitals.

The Kings are in a similar situation in the West. At 15-10-9, they’re seventh, with eight points separating the 10th-place St. Louis Blues and fourth-place Vegas Golden Knights.

The trade comes after the Kings ended an 0-2-2 skid with a 2-1 win at Tampa Bay on Thursday night.

Holland acknowledged the Kings need more offensive production — they rank 28th in the NHL, averaging 2.56 goals per game. But he’s pleased with the team’s defensive play and goaltending, with the Kings ranking third in giving up 2.5 goals per outing.

“Certainly we need more goals,” he said, noting the Kings are a combined 5-9 in overtime and shootouts. “I’m hoping that some of the people that have scored in the past will start to score here going forward.”

Holland also backed third-year coach Jim Hiller by noting how the Kings are no different than a number of NHL teams approaching the midway point of the season.

“If we’re in a malaise, then 25 teams are in a malaise. Like, the whole league’s packed together,” Holland said. “Jim’s done a good job, and our team is playing very structured and competes every night.”

Relatives of the late President John F Kennedy slammed the centre’s board, saying the name cannot be changed under law.

Donald Trump’s name has been added to the Kennedy Center in Washington, DC, just one day after his hand-picked board members controversially voted to rename the arts venue, the first time a national institution has been named after a sitting US president.

Workmen added metal lettering to the building’s exterior on Friday that declared, “The Donald J Trump and the John F Kennedy Memorial Center for the Performing Arts.”

“Today, we proudly unveil the updated exterior designation – honoring the leadership of President Donald J Trump and the enduring legacy of John F Kennedy,” the centre said on social media.

Family members of former President Kennedy, who was killed by an assassin’s bullet in 1963, as well as historians and Democratic lawmakers, have criticised the move, saying only an act of Congress could alter the name of the centre, which was designated as a living memorial to Kennedy a year after his assassination.

“The Kennedy Center was named by law. To change the name would require a revision of that 1964 law,” Ray Smock, a former House of Representatives historian, told the Associated Press (AP) news agency. “The Kennedy Center board is not a lawmaking entity. Congress makes laws,” Smock said.

The AP reports that the law naming the centre explicitly prohibits the board of trustees from making the centre into a memorial to anyone else, and from putting another person’s name on the building’s exterior.

Kerry Kennedy, a niece of former President Kennedy, said in a post on social media that she will remove Trump’s name herself when his term as president ends.

“Three years and one month from today, I’m going to grab a pickax and pull those letters off that building, but I’m going to need help holding the ladder. Are you in?” she wrote on X.

Naming a national institution after a sitting president is unprecedented in US history. Landmarks such as the Washington Monument, Lincoln Memorial and indeed, the Kennedy Center were all named after the deaths of the renowned US leaders.

Kennedy’s grandnephew, former Congressman Joe Kennedy III, also said the Kennedy Center, like the Lincoln Memorial, was a “living memorial to a fallen president” and cannot be renamed, “no matter what anyone says”.

Trump claimed on Thursday that he was “surprised” by the renaming of the Kennedy Center, even though he personally purged the centre’s previous board after calling it “too woke”.

He has also previously spoken about having his name added to the centre and appointed himself chairman of the centre’s board earlier this year.

Trump has sought to rein in the Kennedy Center since the start of his second term as part of an assault on cultural institutions that his administration has accused of being too left-wing.

Dec. 19 (UPI) — President Donald Trump‘s name was affixed Friday to The Kennedy Center for the Performing Arts in Washington, D.C., with one Kennedy family member threatening to chisel the change out.

Signage now reads: Donald J. Trump and The John F. Kennedy Center for the Performing Arts.” Workers added Trump’s name before one honoring the former president.

The change has drawn opposition, including members of the Kennedy family.

“Three years and one month from today, I’m going to grab a pickax and pull those letters off that building, but I’m going to need help holding the ladder,” Kerry Kennedy, the daughter of former Attorney General Robert F. Kennedy, posted on X. “Are you in? Applying for my carpenter’s card today, so it’ll be a union job!!!”

On Thursday, Trump’s handpicked board of trustees voted to rename the building to also honor Trump. Eleven months ago, after he became president for the second time, he dismissed the entire board with new members and named himself chairman.

The name change requires a vote by U.S. Congress as mentioned in the U.S. Code that says no new “memorials or plaques in the nature of memorials shall be designated or installed in the public areas of the John F. Kennedy Center for the Performing Arts.”

Trump also changed something else that requires congressional approval: the Defense Department to the War Department.

White House press secretary Karline Leavitt posted on X, the it was changed “because of the unbelievable work President Trump has done over the last year in saving the building.

“Not only from the standpoint of its reconstruction, but also financially, and its reputation.”

Trump said he was “surprised and honored” by the news, though he hinted about the change while he emceed the Kennedy Center Honors earlier this month.

In August, he posted on Truth Social about new honorees: “GREAT Nominees for the TRUMP/KENNEDY CENTER, whoops, I mean, KENNEDY CENTER.”

Kerry Kennedy said Trump doesn’t represent the values of her uncle.

“President Kennedy proudly stood for justice, peace, equality, dignity, diversity, and compassion for those who suffer. President Trump stands in opposition to these values, and his name should not be placed alongside President Kennedy’s.”

Maria Shriver, the former President Kennedy’s niece and former first lady of California, wrote on X.: “It is beyond wild that he would think adding his name in front of President Kennedy’s name is acceptable. It is not. Next thing perhaps he will want to rename JFK Airport, rename the Lincoln Memorial, the Trump Lincoln Memorial. The Trump Jefferson Memorial. The Trump Smithsonian. The list goes on.”

Robert F. Kennedy’s grandson, former Rep. Joe Kennedy III of Massachusetts, posted on X that the center is “a living memorial to a fallen president and named for President Kennedy by federal law. It can no sooner be renamed than can someone rename the Lincoln Memorial, no matter what anyone says.”

Six Democratic lawmakers, who serve as ex-officio members of the Kennedy Center board, said in a statement to CNBC: “Beyond using the Kennedy Center to reward his friends and political allies, President Trump is now attempting to affix his name to yet another public institution without legal authority. Federal law established the Center as a memorial to President Kennedy and prohibits changing its name without Congressional action.”

Congress’ two Democratic leaders, Sen. Chuck Schumer and Rep. Hakeem Jeffries, signed the statement.

Another ex-officio member of the board, a Republican, didn’t vote for the change. Sen. Shelly Moore Capito, R-W.V., told reporters at the Capitol on Thursday: “The Kennedy Center, in my view, is the Kennedy Center.”

Long Beach City College’s performing arts center is officially being named after Long Beach legend and LBCC alumna Jenni Rivera.

Last week LBCC’s Board of Trustees unanimously voted to name the new facility the Jenni Rivera Performing Arts Center.

“This naming recognizes not just an extraordinary performer, but a daughter of Long Beach whose voice and spirit transcended borders,” said Uduak-Joe Ntuk, president of LBCC’s board of trustees in a press statement. “Jenni Rivera inspired millions through her music, resilience, and advocacy. We are proud that future generations of artists will learn and create in a space that bears her name.”

Jenni Rivera Enterprises will donate $2 million over the next 10 years to the LBCC Foundation, with the bulk of the funds going toward scholarships and education programs, the Long Beach Post reported.

“Our family is deeply honored that Long Beach City College has chosen to memorialize Jenni in this extraordinary way,” said Jacqie Rivera, Rivera’s daughter and CEO of Jenni Rivera Enterprises, in a press release. “Long Beach shaped who Jenni was — as an artist, a mother, and a woman — committed to her community. Knowing that young performers will grow, train, and find their creative voice in a center that carries her name is profoundly meaningful to us.”

The performing arts center, which is scheduled to open in spring 2026, is the second honor the “Inolvidable” singer has received from LBCC. Earlier this year, Rivera was inducted into the LBCC Hall of Fame alongside actor/activist Jennifer Kumiyama and attorney Norm Rasmussen.

Rivera was born and raised in Long Beach, attending Long Beach Poly High School in the 1980s, where she got pregnant as a sophomore. She later graduated from Reid Continuation High School as class valedictorian. She went on to attend LBCC before transferring to Cal State Long Beach to get a bachelor’s degree in business administration.

She immediately put that degree to use as a real estate agent, while simultaneously working at her father’s recording studio and record label.

Her father, Pedro Rivera, was a noted singer of corridos. In the 1980s he launched the record label Cintas Acuario. It began as a swap-meet booth and grew into an influential and taste-making independent outfit, fueling the careers of artists such as Chálino Sanchez. Jenni Rivera’s four brothers were associated with the music industry; her brother Lupillo, in particular, is a huge star in his own right.

She released her first album, “Somos Rivera,” in 1992, launching a prolific career that was tragically cut short when Rivera and six others were killed in a plane crash in Mexico on Dec. 9, 2012.

The self-proclaimed “Diva de la Banda” was a self-made star with a veritable rags-to-riches story. She was a true trailblazer, a U.S.-born woman who took up plenty of space in the male-dominated world of música mexicana.

In 2015, Long Beach city officials honored the singer’s legacy by bestowing her name on a park in Long Beach. On display along a brick wall at the Jenni Rivera Memorial Park is a 125-foot-long mural honoring Rivera’s life and heritage.

The Hollywood Walk of Fame also honored Rivera with a star in 2024, which her five children accepted on her behalf.

“One of my mom’s favorite exes used to work in this vicinity. We would come and check in on him and she always dreamt — I remember sitting in the car, in her Mercedes, and she always dreamt, ‘I’m gonna have my star here one day,’” Rivera’s daughter Jenicka Lopez said at the star unveiling ceremony.

“I thought it was impossible after she passed away, but God has a beautiful way of proving people wrong.”