Photo credit: pitchfork.com
Following an email exchange, Yasmin Williams engaged in a phone conversation with Pitchfork to discuss her interaction with Richard Grenell, along with subsequent communications from the Kennedy Center staff. In this interview, she delves into her motivations for reaching out to the Kennedy Center and her hopes for its future arts programming. The following dialogue has been succinctly edited for clarity.
Pitchfork: What prompted you to contact the Kennedy Center? What kind of transparency were you seeking?
Yasmin Williams: I’ve had numerous conversations with fellow musicians and frequent attendees of the Kennedy Center regarding the institution’s direction. Much of this concern arose after the new leadership was appointed, particularly when Donald Trump became involved. Many of us were apprehensive and unsure about the changes ahead. I’ve encountered various articles with conflicting narratives, such as claims that a specific show was canceled by Trump’s appointees contrasted with other reports suggesting it had been canceled beforehand. Such discrepancies are confusing and unhelpful.
Moreover, I hold the Kennedy Center in high regard; it has been the venue for significant moments in my life, and I genuinely want to see it thrive. I came across Richard Grenell’s email through Cathy Fink, who was also reaching out to officials for clarity on the situation. Prior to this email exchange, I had been expressing my thoughts publicly, advocating against artist boycotts. Many artists withdrew from their board positions and stopped performing when the new leadership was announced. I voiced my belief that artists should continue to perform, recognizing that many staff members relied on their income from such events. The Kennedy Center usually offers higher hourly wages to its staff and freelance union workers compared to other venues in the D.C. area.
You reached out to Grenell to inquire about the Kennedy Center’s current status. Were the screenshots you posted on Instagram the complete record of your communication?
Yes, those were all the emails exchanged, presented in the order they were sent.
Was there much time between your emails, or did the conversation flow quickly?
I sent my first email at approximately 9:23 p.m. on a Tuesday, and he replied around 11:00 p.m. the same night. All subsequent emails came in rapid succession, often within five minutes—essentially a late-night dialogue.
So, this communication occurred mostly at night?
Exactly! I didn’t anticipate a response, especially at that hour.
What was your reaction when you received Grenell’s final, lengthy email, where he claimed you hadn’t “done your own research”?
After some time had passed, I shared it on my Instagram stories. I found it shocking and somewhat bizarre. I didn’t feel overly upset; it just struck me as important for people to see the full context of that exchange and understand who is currently in charge at the Kennedy Center. Whether interim executive director or not, it was clear he doesn’t seem to care about the arts. His emails appeared misleading, and his tone felt erratic. When I woke up the next morning, the conversation had gained significant traction.
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pitchfork.com