Lifestyle
Curtis Sittenfeld Goes Home Again
There really was a woman who photocopied her butt at a workplace in the 1980s.
Curtis Sittenfeld, 49, heard about the incident when she was a girl and filed it away. Four decades later, the Great Butt Xeroxing makes an appearance in her new short story collection, “Show Don’t Tell.”
She mentioned it one day last week when she met up with her oldest childhood friend, Anne Morriss, in Cincinnati, where they had both grown up. Ms. Sittenfeld, who lives in Minneapolis with her husband and two daughters, was back in town while on tour for her latest book. Ms. Morriss, a leadership coach in Boston, was there to celebrate her mother’s 83rd birthday.
“It happened in my mother’s real estate office,” Ms. Morriss said. “I remember processing it with you. And you had questions!”
“It’s all I think about,” Ms. Sittenfeld replied.
Why did she do it? The mysteries of human behavior, along with the mortification that often follows an ill-considered act or remark, are of special interest to Ms. Sittenfeld, who made her name 20 years ago with her debut novel, “Prep.” She’s the patron saint of women who wish the floor would open and swallow them whole.
“People will have very different reactions to my writing,” she said. “People will be like, ‘I felt so frustrated by this character — they were so neurotic or cringey, and I wanted to reach into the story and shake their shoulders.’ Or people will be like, ‘I felt like you were inside my brain.’”
The two friends lined up behind a gaggle of schoolgirls at Graeter’s Ice Cream, a local favorite. They ordered cups of mocha chip (for Ms. Sittenfeld) and chocolate chip (for Ms. Morriss) and strolled to a park, taking advantage of the unseasonably warm day.
They sat on a bench and watched a group of middle-school-age girls in Uggs and leggings who were making a video of themselves doing a TikTok dance. The girls ran to their phones to watch the recording, deleted it, and did the dance again.
Ms. Sittenfeld, who was wearing New Balance sneakers and a blue heathered sweater, and Ms. Morriss, with her Hillary Clinton bob and silk scarf, didn’t look like they had inspired the haughty queen-bee characters in “Prep.” But Ms. Morriss insisted they had been “mean girls” back in middle school.
“Were we mean girls?” Ms. Sittenfeld said. “Obviously, I am a little defensive, but in middle school I would say that we were popular more than mean.”
Then she pondered her statement, as though cross-examining her own recollections.
“Actually,” she continued, “I’m sure we were mean. I unearthed some diaries recently. I read them to my own children, and one of my kids was like, ‘You should write an essay called ‘Diary of a Bitchy Kid.’”
Cracking open another childhood trauma, Ms. Sittenfeld recalled a time in eighth grade when she and Ms. Morriss had stopped being friends for a while. The split occurred during what Ms. Sittenfeld described as her own “social downfall.”
It came about because she had committed the faux pas of skipping a friend’s slumber party. After that, she found herself exiled from her usual peer group and sitting with the student council boys at lunch. She eventually felt so isolated that she ended up leaving the Midwest for the Groton School, an elite boarding academy in Massachusetts that provided her with material for “Prep.”
“You were curious about the world in a way that the rest of us weren’t,” Ms. Morriss said.
Ms. Sittenfeld took a moment to consider this.
“Let’s be honest,” she said. “I do not think that I seemed brilliant as a child — and frankly, it’s not like I think I seem brilliant now. Sometimes I’ll encounter writers and they’re so smart, and they’ve read everything there is, and it’s almost like they have an inaccessible intelligence. I would not say that I have an inaccessible intelligence.”
‘The Messiness of Life’
In “Prep,” Ms. Sittenfeld focused on a girl who pinballs between a hunger to be noticed and a desire to disappear. In the eight books she has published since, she has mined the terrain of female self-consciousness and status anxiety across all life stages.
In “Show Don’t Tell,” the story that opens her new collection, she examines the unspoken rivalry between a pair of students, a woman and a man, at a top graduate writing program. When they meet up at a hotel bar nearly 20 years later, the woman is the author of five best-sellers and the man is the winner of prestigious literary prizes.
“He’s the kind of writer, I trust, about whom current students in the program have heated opinions,” Ms. Sittenfeld writes. “I’m the kind of writer their mothers read while recovering from knee surgery.”
But here’s the thing about American women recovering from knee surgery: They are shaping the country’s political, social and cultural debates. Pundits want to know why a majority of white women voted for Donald J. Trump. Documentaries tell cautionary tales of affluent women who fall down social media rabbit holes leading to wellness influencers promoting dubious health regimens. Ms. Sittenfeld chronicles this demographic from within, not as an impartial observer.
“I’m not an ornithologist — I’m a bird,” she said, quoting Saul Bellow. And she isn’t bothered by fancy male critics who might be inclined to dismiss the people and subject matter at the heart of her work. “If I have an opinion, I should write a 1,000-word essay,” she said. “If I want to explore the messiness of life, I should write fiction.”
For years her books have captured the concerns of a group that has lately become a cultural fixation, middle-aged women who wake up one day and realize their lives aren’t exactly what they’d planned. After reading “All Fours” by Miranda July or watching Halina Reijn’s “Babygirl,” some are having frank conversations about sex and marriage; others are simply spiraling.
Ms. Sittenfeld’s heroines seem to want more than they should while bumping up against the limiting forces of age or wilted ambition. She has explored such women in best-sellers and two works selected for Reese Witherspoon’s book club. Hollywood executives who optioned her books have suggested casting stars like Anne Hathaway and Naomi Watts.
Her two teenage daughters have made it clear that they’re not particularly impressed by her career. “They see me as kind of ridiculous,” Ms. Sittenfeld said. “My 15-year-old will sometimes be like, ‘I can’t believe you write books, you seem so apart from the world.”
It helps that she lives in Minneapolis, where her husband teaches media studies, and which feels so distant from the hothouse worlds of Brooklyn and Hollywood. “Sometimes in interviews people will say to me, ‘Do you feel a lot of pressure in writing your next book?’ And I’ll think, Who would I feel pressure from?” Ms. Sittenfeld said. “Nobody cares what I’m doing.”
Still, the older Ms. Sittenfeld gets, the clearer she feels about what she wants to do in her work.
“Are you watching ‘Somebody Somewhere’?” she asked Ms. Morriss, referring to the HBO show starring Bridget Everett as a woman who returns to her hometown in Kansas. There’s a moment in the show, Ms. Sittenfeld recalled, in which the main character and her petite sister are talking about “the pencil test.”
“You put a pencil under your breast, and if it falls out it means you have perky breasts,” Ms. Sittenfeld said. “Then Bridget Everett’s character takes a big salad dressing bottle and wedges it under her enormous boobs. That is the tone of the storytelling I want to do. It’s not the person with the pencil falling out, but the person with the salad dressing bottle staying under her boobs.”
She added, “Isn’t it so weird and undignified to be a person?”
‘So Authentic’
Shortly before 6 p.m., Ms. Sittenfeld stepped into the Mercantile Library, where she was scheduled to give a talk. The library’s executive director, John Faherty, greeted her with some praise for her new book, while noting that its depictions of marriage were a bit dark.
“I was going to call you up and say, ‘Are you OK?’” he said.
“That’s not a blurb for the paperback,” Ms. Sittenfeld replied.
She and Mr. Faherty had become close through various book talks at her hometown library over the years. “I did an event here in 2016 for ‘Eligible,’” she said, referring to her modern-day retelling of Jane Austen’s “Pride and Prejudice,” which she set in Cincinnati. “John got everyone Skyline chili.”
“I was told you can do gender reveal parties at Skyline now,” she added, referring to the restaurant chain.
“Do they say ‘boy’ with a hot dog?” Mr. Faherty asked. “I’m afraid to ask what’s for a girl.”
“The absence of a hot dog?” Ms. Sittenfeld said with a laugh.
She grabbed her phone and opened a text from her 15-year-old daughter. “We watch ‘Severance’ as a family and she was like, ‘Can I watch it by myself?’” Ms. Sittenfeld said.
“Say no and she’ll watch it anyway,” Mr. Faherty suggested.
The thrum of voices was getting louder as the crowd assembled. Ms. Sittenfeld swapped her normal New Balance sneakers for what she called her “fancy sneakers,” which were almost identical but with blue floral decals. She went to the bathroom to apply makeup — “just a little foundation,” she said.
In the main room, Ms. Sittenfeld and Mr. Faherty sat perched in front of some 225 people, an audience that included Ms. Sittenfeld’s 77-year-old mother. Ms. Sittenfeld described the sorts of questions that come up in her new book: If you eat a cup of sauerkraut with a dollop of Thousand Island dressing for lunch every day and your spouse finds that disgusting, is it his fault or yours?
The audience tittered. An older woman in a lilac sweater buried her face in her hands, giggling. When Mr. Faherty seemed on the verge of giving away a plot point, a spoiler-averse audience member shouted, “We haven’t read the book yet!” In the front row, someone knocked over a cup of wine and then got on her hands and knees to mop it up.
When Ms. Sittenfeld wrapped up her talk, readers rushed forward to ask for selfies and autographs. In Ms. Sittenfeld’s books, her characters realize over and over again that there is no escaping the embarrassment of being alive; there’s only finding somebody who will respond tenderly or, at least, with a good-natured laugh. The ache of that recognition filled the room.
Readers toted copies of “Prep” and “American Wife” that looked as if they’d been through the washing machine. One declared she had driven three hours to get there; another boasted of a book club made up of Ms. Sittenfeld’s devoted fans.
Ms. Sittenfeld’s third grade teacher, Bobbie Kuhn, sitting in the second row, said of her former student: “She’s just as authentic as she was.”
It’s the type of compliment Ms. Sittenfeld is used to receiving.
“People will be like, ‘You’re so authentic,’ which probably means you’re saying something wrong,” she said, laughing. “It’s like somebody saying you’re brave. You’re kind of like — oh no!”
Actor TK Carter arrives for the premiere of “The LA Riot” at the Tribeca Film Festival, Monday, April 25, 2005, in New York.
Mary Altaffer/AP
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Mary Altaffer/AP
DUARTE, Calif. — Veteran actor T.K. Carter, who appeared in the horror film “The Thing” and “Punky Brewster” on television, has died at the age of 69.
Carter was declared dead Friday evening after deputies responded to a call regarding an unresponsive male in Duarte, California, according to the Los Angeles County Sheriff’s Department.
Police did not disclose a cause of death or other details, but said no foul play was suspected.
Thomas Kent “T.K.” Carter was born Dec. 18, 1956, in New York City and was raised in Southern California.
He began his career in stand-up comedy and with acting roles. Carter had been acting for years before a breakthrough role as Nauls the cook in John Carpenter’s 1982 horror classic, “The Thing.” He also had a recurring role in the 1980s sitcom “Punky Brewster.”
Other big-screen roles include “Runaway Train” in 1985, “Ski Patrol” in 1990 and “Space Jam” in 1996.
“T.K. Carter was a consummate professional and a genuine soul whose talent transcended genres,” his publicist, Tony Freeman, said in a statement. “He brought laughter, truth, and humanity to every role he touched. His legacy will continue to inspire generations of artists and fans alike.”
Kylie Jenner
Cosmic Cleavage …
Flaunts Boobs While Pushing New Fragrance
Published
Kylie Jenner‘s full-bodied new fragrance is out … and, she’s using her bust to promote it — pushing up her cleavage for the ad.
The model posed in the sleeveless red leather top which perfectly matched the fragrance bottle she held against her head.
Waiting for your permission to load the Instagram Media.
The star’s looking away from camera … though we imagine if she could see fans looking at the pic, she might tell them her eyes were up about a foot or so!
She captioned the post by telling fans the new smell is called COSMIC INTENSE … a spin-off of her original “COSMIC” which feels “warmer, creamier, and even more addictive.”
KJ’s gotta promote the perfume now because she’s not going to have much time to work on her business in upcoming weeks … as we imagine she’ll attend every awards show with her man, Timothée Chalamet.
As you know … Chalamet got handsy with Jenner shortly after winning the Critics Choice Award for Best Actor — grabbing her backside while sitting in the audience. He’d just said he loved her in his acceptance speech as well.
Maybe Chalamet will grab a bit of her cosmic cleavage if he wins a Golden Globe this weekend!
A view of the John F. Kennedy Center for the Performing Arts, which the current board is calling the Trump Kennedy Center, in Washington, DC, on Dec. 26, 2025.
Brendan Smialowski / AFP via Getty Images
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Brendan Smialowski / AFP via Getty Images
The Washington National Opera is leaving the John F. Kennedy Center for the Performing Arts, its home since 1971.
Friday’s news, shared with NPR in a statement via email from the opera company, comes in response to new policies which the 70-year-old performing arts group said strain its financial model.
The Washington National Opera stressed the “amicability” of its decision to end its longtime residency at the Kennedy Center. But it said the center’s new business model, which requires productions to be fully-funded in advance, is incompatible with the usual mix of ticket sales, grants and donations that cannot all be secured ahead.
“Opera companies typically cover only 30-60% of costs through ticket sales, with the remainder from grants and donations that cannot be secured years ahead when productions must be planned,” the statement said.
The company added the model also does not accommodate its artistic mission, which aims to balance popular works such as West Side Story, slated for May 2026, with more obscure and experimental operas, such as the little-known Scott Joplin work, Treemonisha, scheduled for March. “Revenue from major productions traditionally subsidizes smaller, innovative works,” the statement said.
Artistic director Francesca Zambello, who has led the company for 14 seasons, shared her regrets in a statement with NPR, while also looking to the future.
“I am deeply saddened to leave the Kennedy Center,” Zambello said. “In the coming years, as we explore new venues and new ways of performing, Washington National Opera remains committed to its mission and artistic vision. Our repertory will continue to include diverse offerings, from monumental classics to more contemporary works, presented in bold visual productions with first-class musical values.”
In addition to a continued presence for now on the Kennedy Center website, the opera company launched its new independent website within a few hours of its announcement.
“After careful consideration, we have made the difficult decision to part ways with the Washington National Opera due to a financially challenging relationship,” the Kennedy Center wrote in an email to NPR on Friday. “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.”
On social media, Kennedy Center executive director Richard Grenell said it was the center’s decision to sever ties with the opera company — and not the other way around.
“The Trump Kennedy Center has made the decision to end the EXCLUSIVE partnership with the Washington Opera so that we can have the flexibility and funds to bring in operas from around the world and across the U.S.” Grenell said. “Having an EXCLUSIVE relationship has been extremely expensive and limiting in choice and variety.”
Grenell reposted his message on Saturday after he was alerted that his X.com account had been hacked and the original message had been removed.
President Donald Trump was named chairman of the Kennedy Center’s board in February 2025. His name was added to the Kennedy Center in December following a vote by the Trump-appointed members of its board. Since the power of the venue’s board to rename the center is currently in dispute, NPR continues to refer to the Kennedy Center using its legal name.
A string of exits
The Washington National Opera’s departure is the latest and perhaps most significant in a string of artist exits from the cultural institution since Trump took over the institution.
Backlash from ticket-buyers, slated performers, and certain board members—including Shonda Rhimes—was swift.
Artists are continuing to cancel performances. But one of the first to do so was a touring production of the musical Hamilton. In a statement on X in March 2025, producer Jeffrey Seller said he opposed the Trump administration’s ousting of many Democratic board members.
“The recent purge by the Trump Administration of both professional staff and performing arts events at or originally produced by the Kennedy Center flies in the face of everything this national center represents,” wrote Seller.
Actress and writer Issa Rae followed suit with a post on Instagram, cancelling her sold-out March performance.
A slew of additional artists and performance companies canceled after the board’s vote to rename the center “The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts.” Congress has not yet authorized the name change.
Grenell has responded to many cancellations on social media, condemning the artists. After Banjo player Béla Fleck canceled his performance because he said the center had become “political,” Grenell wrote on X, “You just made it political and caved to the woke mob who wants you to perform for only Lefties.
“This mob pressuring you will never be happy until you only play for Democrats. The Trump Kennedy Center believes all people are welcome—Democrats and Republicans and people uninterested in politics. We want performers who aren’t political—who simply love entertaining everyone regardless of who they voted for.”
Find a running list of these cancellations below.
Sonia De Los Santos
On Jan. 8, singer-songwriter Sonia De Los Santos announced on Instagram that she was canceling her upcoming February concert at the Kennedy Center. “As an artist,” wrote De Los Santos, “I treasure the freedom to create and share my music, and for many years I have used this privilege to uplift the stories of immigrants in this country.”
De Los Santos, who was nominated for a Latin Grammy for best children’s album in 2018, stated that “I do not feel that the current climate at this beloved venue represents a welcoming space for myself, my band, or our audience.”
Béla Fleck performs onstage during the 67th Annual Grammy Awards Premiere Ceremony at Peacock Theater on Feb. 2, 2025 in Los Angeles.
Leon Bennett/Getty Images for The Recording Academy
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Leon Bennett/Getty Images for The Recording Academy
Béla Fleck
Performing at the Kennedy Center “has become charged and political, at an institution where the focus should be on the music,” wrote American banjo player Béla Fleck about his scheduled appearance with the National Symphony Orchestra in an official statement posted to Instagram on Jan. 7. “I have withdrawn from my upcoming performance with the NSO at The Kennedy Center,” he wrote. “I look forward to playing with the NSO another time in the future when we can together share and celebrate art.”
The 18-time Grammy winner has performed at the Kennedy Center in the past.
Stephen Schwartz
The composer and lyricist for the beloved musicals Wicked, Godspell and Pippin was expected to host a gala fundraiser for the Washington National Opera in May 2026. On Jan. 2, Schwartz announced his withdrawal. According to NBC News, Schwartz reflected that the Kennedy Center was “founded to be a political home for free artistic expression for artists of all nationalities and ideologies.” Today, he said, making an appearance “has now become an ideological statement.”
Richard Grenell quickly responded to Schwartz’s withdrawal, calling it a “bogus” report in a statement posted on X and saying reporters were plagiarizing a “fake @RollingStone story.” Schwartz was “never signed,” Grenell wrote.
Reports from NBC and other outlets, including Variety, have refuted this claim, publishing screenshots showing that Schwartz was promoted on the Kennedy Center’s website prior to his cancellation.
Stephen Schwartz attends the 2025 Songwriters Hall Of Fame Induction Ceremony at Marriott Marquis Times Square on Jun. 12, 2025 in New York City.
Theo Wargo/Getty Images for Songwriters Hall Of Fame
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Theo Wargo/Getty Images for Songwriters Hall Of Fame
The Cookers
The seven-piece band of veteran jazz musicians announced shortly before Dec. 31 that they would not perform at the Kennedy Center for “A Jazz New Year’s Eve:”
“We know this news is disappointing,” reads the statement on their website. “We are not turning away from our audience, and do want to make sure that when we do return to the bandstand, the room is able to celebrate the full presence of the music and everyone in it. Our hope is that this moment will leave space for reflection, not resentment.”
The statement went on to say, “We remain committed to playing music that reaches across divisions rather than deepening them.”
Chuck Redd
The American jazz drummer and longtime host of the Kennedy Center’s annual Christmas Jazz Jam chose to cancel his 2025 appearance when he “saw the name change on the Kennedy Center website and then hours later on the building,” according to a statement sent to the Associated Press.
On Dec. 27, the Kennedy Center announced its plan to file a $1 million lawsuit against Redd. “Any artist canceling their show at the Trump Kennedy Center over political differences isn’t courageous or principled—they are selfish, intolerant, and have failed to meet the basic duty of a public artist: to perform for all people,” said Kennedy Center spokesperson Roma Daravi.
In a letter shared with NPR, Richard Grenell condemned Redd: “Regrettably, your action surrenders to the sad bullying tactics employed by certain elements on the left, who have sought to intimidate artists into boycotting performances at our national cultural center.”
Doug Varone and Dancers
“The renaming for me has kind of pushed me off a cliff,” said choreographer Doug Varone on Dec. 31, when he spoke with NPR’s Morning Edition. Varone, who was set to showcase members of his Doug Varone and Dancers company at the Kennedy Center in April 2026, pulled the performance.
John F. Kennedy, for whom the Kennedy Center was established as a living memorial, “believed in the arts as kind of the beating heart of our nation,” said Varone.
“I believe that the level of artistry has dropped drastically since the administration change, and the employees that were responsible for the quality of the work at the center have all been let go.”
After canceling, the company started a crowdfunding campaign to help offset its financial loss. It raised over $42,000, exceeding its $40,000 goal.
Magpie
In a statement posted to Facebook on Jan. 5, Greg Artzner of the American folk duo Magpie announced the decision to pull their Feb. 28 concert, set to play on the Kennedy Center’s Millennium Stage.
“There isn’t really anything defensible” about Trump, said the statement from Artzner and Magpie’s Terry Leonino. Although they had planned an evening of songs with messages of unity and hope, “We are personally and philosophically in agreement with the belief underlying the growing boycott,” they said. “The stand being taken by fellow artists we respect and admire has created a moral picket line. We stand with them in solidarity.”
An update on Jan. 9 said that Magpie would now be performing a longer version of that concert on Feb. 21 at Seekers Church in Washington, D.C., now called, “The Traveling John F. Kennedy Center for the Performing Arts Restoration Roadshow.”
Kristy Lee
Folk singer Kristy Lee canceled her Jan. 14 Kennedy Center performance due to “recent efforts to impose political branding on the Center,” according to a statement posted on her website.
“Public arts spaces should be free from political influence,” Lee said in her statement. “I step back out of respect for artistic freedom and the Kennedy Center’s founding mission, not in opposition to its staff, artists, or audience.”
On Jan. 14, Lee plans to host a live-streamed concert instead, titled “Showing Up: From the Kennedy Center to the Couch.”
Low Cut Connie
Philadelphia rock and roll band Low Cut Connie pulled their concert, set for February 2025, “Upon learning that this institution that has run non-partisan for 54 years is now chaired by President Trump himself and his regime,” according to a statement posted on their Facebook page.
“Maybe my career will suffer from this decision,” wrote band frontman Adam Weiner, “but my soul will be the better for it.”
Rhiannon Giddens
In Feb. 2025, folk singer Rhiannon Giddens announced her departure from the Kennedy Center lineup in a social media statement. “I cannot in good conscience play at The Kennedy with the recent programming changes forced on the institution by this new board,” wrote Giddens.
Giddens transferred her May 11 concert, “Old-Time Revue,” to The Anthem concert hall, also in Washington, D.C.
Balún
The Puerto Rican band, based in Brooklyn in New York City, canceled their Kennedy Center performance, which had been set for Feb. 27, 2025.
According to a statement posted to Balún’s Instagram account, “recent events made it clear that the space no longer aligns with our values. Our safety, integrity, and commitment to justice come first.”
Issa Rae attends HBO’s final season premiere of “Insecure” at Kenneth Hahn Park on Oct. 21, 2021 in Los Angeles, California.
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Kevin Winter/Getty Images
Issa Rae
“Thank you so much for selling out the Kennedy Center for ‘An Evening With [Me],’” wrote Issa Rae, the acclaimed star and creator of HBO’s Insecure, on her Instagram stories page in Feb. 2025. “Unfortunately, due to what I believe to be an infringement on the values of an institution that has faithfully celebrated artists of all backgrounds through all mediums, I’ve decided to cancel my appearance at this venue.”
“Hamilton”
In March 2025, Hamilton producer Jeffrey Seller announced on X that the Tony-award winning musical phenomenon would no longer run as scheduled at the Kennedy Center. According to the statement, the decision was made both for political and for business reasons. Not only was there “a new spirit of partisanship,” the statement read in part, but “it would be “financially and personally devastating to the employees of Hamilton if the new leadership of the Kennedy Center suddenly canceled or re-negotiated our engagement. The actions of the new Chairman of the Board in recent weeks demonstrate that contracts and previous agreements simply cannot be trusted.”
The Kennedy Center was swift to respond to Hamilton‘s cancellation. On X in a now-deleted post, Richard Grenell accused Hamilton star and creator Lin Manuel-Miranda of being “intolerant of people who don’t agree with him politically,” and stated that the decision was “a publicity stunt that will backfire.”
In the months since the show’s cancellation at the Center, Hamilton has continued to sell out theaters on Broadway and in venues nationwide who host its North American touring company.
U.S. Marine Band
The U.S. Marine Band announced in February 2025 that the Marine Band would not perform in the Equity Arc Wind Symphony event, a collaboration between Marine Band members and selected high school musicians.
The U.S. Marine Band, known also as “The President’s Own” was founded by an Act of Congress in 1798, making it the country’s oldest professional music organization.
Composer Kevin Charoensri, whose music had been scheduled to be performed by the band at the event, stated in a Facebook post that Diversity, Equity, and Inclusion (DEI) orders resulted in the cancellation of the Equity Arc concert:
“It has come to my attention that the program, one based on equity and diversity of voices, is no longer supported at the federal level under this administration,” Charoensri wrote. “It was for this reason that the program and performance were canceled.”
The U.S. Marine marching band performs in the 120th Tournament of Roses Parade January 1, 2009 in Pasadena, California.
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Alberto E. Rodriguez/Getty Images
Jennifer Vanasco edited this story.
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