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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.

My name is Jon Halperin. I booked and managed Chain Reaction from 2000 to 2006. It started by accident while I was running a one-person record label. I went to the club to see the band Melee perform and the prior talent buyer for the club had just quit that day. I told owner Tim Hill I’d do it (having only booked three shows ever at a coffee shop). We slept on it, and I was hired the next day.

I joined Ron Martinez (of Final Conflict). He was booking the punk and hardcore shows. I booked the indie, ska, emo, screamo and pop punk stuff. We made a great team. Best work-wife ever.

Story time. My friend Ikey Owens (RIP) hit me up and told me that he and the guys from At the Drive In were going to be starting a new band. I’d booked Defacto (their dub project) before, and we agreed to throw them on a show and just bill it as “Defacto.” There were maybe 200 people there to see the first show for a band that would soon be known as the Mars Volta.

That wasn’t out of the ordinary. Chain Reaction had many artists grace that stage that went on to bigger things: Death Cab for Cutie, Avenged Sevenfold, Maroon 5, Fall Out Boy, Panic at the Disco, Taking Back Sunday, Pierce the Veil, My Morning Jacket. The list goes on and on.

Jon Halperin, who booked Chain Reaction from 2000 to 2006, stands in front of the club during its heyday.

(From Jon Halperin)

I used to make a deal with the kids. Buy a ticket to “X” show, and if you didn’t like the band, I’d refund you. I never had to. I knew my audience and they trusted my curation of the room. … It was by the kids, for the kids, except I was 30 at the time. I had to think like a teenager. My friend Brian once called me “Peter Pan.”

Halfway through my reign, social media became a thing. There was Friendster and a bit later MySpace. YouTube stated just a few years after. But those first few years of me at the venue, it was word of mouth. It was paper fliers dropped off at coffee shops and record stores. It was the flier in the venue window. It was Mean Street Magazine and Skratch Magazine.

I’d tease the press when they wanted to review a show. If you don’t show up with a pen and paper, you aren’t getting in (sorry, Kelli).

Most music industry went to the Los Angeles show, but smart industry came to us. Countless acts got signed following their shows. You’d often see the band meeting with a label in the parking lot near their tour van.

It was a dry room when I was there. No booze or weed whatsoever. We made only one exception to the weed rule. An artist in a band with Crohn’s disease who traveled with a nurse. Not saying bands didn’t drink backstage, on stage, in their vans (we rarely had buses), but what we didn’t see didn’t happen.

Touche Amoré performing at Chain Reaction in 2010.

(Joe Calixto)

We were often referred to as the “CBGB’s of the West,” and for a lot of bands, locals and touring acts alike, we were just that. We were the epicenter. There were other venues of course, but for some reason, we were the venue to play. Showcase Theater in Corona was edging toward its demise. Koo’s Cafe in Santa Ana was done. Back Alley in Fullerton wasn’t active. Galaxy Theater [in Santa Ana] was still, well, the Galaxy. There was no House of Blues Anaheim. Bands would drive a thousand miles to play one show at Chain Reaction. We were where the local bands started as first of four on a bill and would be headlining us within a year. We were their jumping-off point. We were where the kids came out. The real fans, many of whom started bands themselves.

Thankfully, there are other smaller venues out there today fostering the all-ages scene: Programme Skate in Fullerton, the Locker Room at Garden AMP [in Garden Grove], Toxic Toast in Long Beach, the Haven Pomona, but it’s just not the same. It was a moment in time. A time that will be forgotten in a few decades, but for today, my social media is being inundated with memories of a room that was a second home for thousands of kids.

Zero regrets. It was the best and worst times of my life. Working a day gig and then heading to the venue nearly every day of the week was rough. Relationships and friendships were hard, being that I couldn’t go out at night. I couldn’t get a pet. I was constantly tired. But I wouldn’t trade those six years for the world.

RIP, Chain Reaction.

LA28 announced the next step in its ticketing plan for the 2028 Olympic and Paralympic Games on Monday as ticket registration will open on Jan. 14.

Fans can start registering for tickets on Jan. 14 at la28.org, and the registration will remain open until March 18. All who sign up will be entered into a random draw to receive a time slot to purchase tickets. While registering, fans will enter their zip codes, and those who live in the Los Angeles and Oklahoma City areas near venues will be eligible to access the first time slots reserved for locals.

“The goal there is to make sure that we’re getting tickets into the hands, not just the fans, but of the local fans,” said Allison Katz-Mayfield, LA28’s senior vice president of Games delivery revenue. “Those that are going to be closest to the Games, really helping us host these Games in some ways.”

The 2028 Olympics will feature the largest Games schedule in history, with 36 sports and 11,198 athletes. The majority of the Games will be held in L.A., including major sports zones in downtown, Exposition Park and the Sepulveda Basin, but cities including Carson, Inglewood and Long Beach will also have multiple venues. Oklahoma City will host the softball and canoe slalom events at existing facilities.

LA28 is still finalizing the duration of each purchasing window, although the plan is to have multiple opportunities per day, so fans would be assigned time slots that are open for several hours. Tickets for a variety of events will be available during each drop in 2026, with single-event tickets beginning at $28. When tickets for the Paralympics go on sale in 2027, the system will be similar and fans will not have to re-register their interest.

While the Olympics will be back in L.A. for the third time in 2028, it will be the first time the city is hosting the Paralympics.

LA28 plans to release 14 million tickets for the Olympics and Paralympics. The total would be a Games record, eclipsing the 12 million sold in Paris, where ticket sales began almost a year after the timeline LA28 is currently using. The Paris Games that opened in July 2024 did not begin ticket registration until November 2022, 20 months before the event.

Fans will have two-and-a-half years to register and purchase tickets before L.A. opens the Olympics on July 14, 2028.