kennedy center

WASHINGTON — The U.S. Treasury Department is working on plans to put President Trump’s signature on all new U.S. paper currency, the agency announced Thursday.

The move would be a first for a sitting president. The news was first reported by Vanity Fair.

It’s the latest instance of Trump putting his name and likeness on American cultural institutions, following his renaming of the U.S. Institute of Peace, the Kennedy Center performing arts venue and a new class of battleships, among other tributes.

The plans come in tandem with an effort to get Trump’s face on a coin.

This month, a federal arts commission approved the final design for a 24-karat gold commemorative coin bearing Trump’s image to help celebrate America’s 250th birthday on July 4.

Treasury Secretary Scott Bessent’s signature would also appear on the currency, according to a Treasury news release.

Bessent said in a statement that “there is no more powerful way to recognize the historic achievements of our great country” than with U.S. dollar bills bearing Trump’s name.

U.S. Treasurer Brandon Beach said in a statement that printing Trump’s signature on the American currency “is not only appropriate, but also well deserved.”

The Mint, which is part of the Treasury Department, manufactures and distributes the currency.

Hussein writes for the Associated Press.

It’s like that time Pinocchio became a real boy: News that was labeled “fake” last week is real today, per the Kennedy Center, and Bill Maher will indeed be the 27th person to receive the Mark Twain Prize for American Humor.

The White House strongly dissed the Atlantic’s reporting (followed by unreporting) last week that Maher was the next in line for the 2026 prize that Conan O’Brien got last year and Kevin Hart picked up the year before that. The Twain honor has been bestowed on comics almost annually since 1998 by the Kennedy Center, a “tired, broken, and dilapidated” building that President Trump slapped his own name on in December and plans to close for two years’ worth of renovations starting July 4 — hence the response from White House flacks.

“Literally FAKE NEWS,” said Steven Cheung, White House director of communications, on his official X account reacting Friday to the Atlantic story. Karoline Leavitt, White House press secretary, said in a statement to the publication, “This is fake news. Bill Maher will NOT be getting this award.”

But People reported Thursday that although the Atlantic’s news was deemed “fake” at the time, according to word from a White House official, the situation had “evolved” in the six days since then.

You say tomato, I say to-mah-to? At any rate, Bill’s getting the Twain, given previously to comedic luminaries including Richard Pryor, Whoopi Goldberg, George Carlin, Lily Tomlin, Steve Martin, Lorne Michaels, Tina Fey and Dave Chappelle.

Maher had no response on social media, perhaps reserving his reaction for the upcoming “Real Time With Bill Maher” episode due out Friday on HBO or his next “Club Random” podcast. But he did issue a dryly amusing statement Thursday in a Kennedy Center news release, saying, “Thank you to the Mark Twain people: I just had the award explained to me, and apparently it’s like an Emmy, except I win.”

(Maher’s show has been nominated for Emmy Awards 22 times, from 2004 through 2024, including 13 nods for variety series and the rest for writing, directing and personal performance. It has won exactly zero of those times. Even Susan Lucci only had to wait through 18 Daytime Emmy nominations before she finally won on the 19th — and proceeded to lose out on two more.)

The comic’s statement continued: “I’d just like to say that it is indeed humbling to get anything named for a man who’s been thrown out of as many school libraries as Mark Twain.”

“For nearly three decades, the Mark Twain Prize has celebrated some of the greatest minds in comedy,” Roma Daravi, vice president of public relations for the Kennedy Center, said in a statement of her own. “For even longer, Bill has been influencing American discourse — one politically incorrect joke at a time.”

Maher, a self-described liberal who has no love for the Republican Party, found himself in strange-new-respect territory among conservatives in recent years after he started slamming far-left ideology as ruthlessly as he slammed the far right. Then last spring he accepted an invitation for dinner with Trump at the White House, and many heads exploded.

“OK, as you know, 12 days ago, I had dinner with President Trump, a dinner that was set up by my friend Kid Rock because we share a belief that there’s got to be something better than hurling insults from 3,000 miles away,” said Maher, who lives on the West Coast, on the April 11, 2025, episode of “Real Time.”

“And let me first say that to all the people who treated this like it was some kind of summit meeting, you’re ridiculous. Like I was going to sign a treaty or something. I have — I have no power. I’m a f— comedian, and he’s the most powerful leader in the world. I’m not the leader of anything except maybe a contingent of centrist-minded people who think there’s got to be a better way of running this country than hating each other every minute.”

Maher said he brought with him to the dinner a list of almost five dozen epithets the president had hurled his way over the years, intending to ask Trump to sign it for him. Which the president did. And after sharing some anecdotes from the visit, including some snappy retorts, Maher told his audience that Trump was “much more self-aware than he lets on in public.”

“I never felt I had to walk on eggshells around him. And honestly, I voted for Clinton and Obama, but I would never feel comfortable talking to them the way I was able to talk with Donald Trump. That’s just how it went down. Make of it what you will.”

The Mark Twain Prize will be given to Maher at a gala set for June 28, with Netflix streaming the event at a later date, yet to be determined.

The tumult continues at the John F. Kennedy Center for the Performing Arts as the National Symphony Orchestra’s executive director, Jean Davidson, steps down from her role to become executive director and chief executive of the Wallis Annenberg Center for the Performing Arts. Davidson will assume her new position May 4, the Wallis announced Friday.

Davidson is not new to L.A., having served as the president and CEO of the Los Angeles Master Chorale at the Music Center from 2015 to 2023. She left the Master Chorale for the NSO in Washington, D.C., where she worked for two years until President Trump began his controversial takeover of the Kennedy Center, firing its board and installing himself as chairman. Major artist defections ensued, culminating with a board vote to rename the center the Trump Kennedy Center in December and February’s surprise announcement that the center would close for two years for renovations, beginning July 4.

“I’ve learned a lot in the last three years, and I think it’s no secret that it’s been a hard year,” Davidson told The Times, adding that the politicization of the Kennedy Center was a factor in her decision-making. “I had intended to stay through the [orchestra’s] 100th anniversary in 2031, but found it more and more difficult to achieve the goals that we had set out to achieve given the external forces that are at work that are just so far beyond my control.”

It seemed like “I had reached a natural ending point,” she said.

With the imminent closure of the Kennedy Center, speculation has swirled around the NSO’s future, especially in light of the Washington National Opera’s decision in January to cut ties with the storied venue, which has been its home since 1971. The Kennedy Center’s Trump-appointed leadership, however, made it clear that it intended to support the NSO in the long term, and the orchestra’s board chair assured musicians that the orchestra and its staff would remain intact.

Davidson said the NSO is in the process of identifying venues for the next two years, and that the orchestra has been told by the Kennedy Center that its financial support is not in question.

“Many venue operators in the D.C. area have been very generously reaching out to us, asking how they can help,” she said. “Of course, we plan our seasons years in advance, and so next season was already planned. We already have conductors and soloists and all of that, and so it’s a bit of a jigsaw puzzle aligning our existing programming and obligations to those artists with venues that are appropriate for those programs.”

It will take several more weeks to come up with a cohesive plan and it will probably include several venues, “but we will have a season,” Davidson said. “And we hope that everybody will come.”

In many ways, Davidson said, the NSO is stronger than it has been in quite some time. During her tenure, Davidson helped reboot the orchestra’s international and domestic touring, which includes upcoming shows at New York’s Carnegie Hall in May and at the Hollywood Bowl in August. The orchestra also extended acclaimed music director Gianandrea Noseda’s contract through 2031.

“The orchestra is just playing at such a high level and they really have never sounded so good,” said Davidson, echoing what notable critics have also been saying. “We’re still welcoming many new players after our audition process, and I think that’s all very positive for the NSO.”

Davidson knows that leaving her role will be difficult for the orchestra, but she believes it will emerge stronger.

“I care deeply about the NSO and I am so proud of everything that we’ve accomplished together. I think the world of Gianandrea, of [principal conductor] Steven Reineke, our musicians, our staff and board — it’s a great community of people,” said Davidson.

Davidson also believes that the upcoming renovations to the Kennedy Center will ultimately result in a better experience for audiences and artists. She just wishes there had been much more advance notice.

“Usually orchestras will plan for being out of their hall years in advance, and we only have months to do that, so it is causing a bit of strain,” she said. “I think the most important thing is that our audiences and donors continue to support the NSO during this transition period.”

Davidson will now embark on her own transition as she moves from D.C. to L.A., rejoining her husband who has stayed in the area as a music professor at UC Irvine.

“This is an opportunity that’s been on my bucket list of things that I want to do in my life and it seems like the right time,” said Davidson of her new role at the Wallis in Beverly Hills.

Compared with the NSO, the Wallis is practically brand new, having opened in 2013.

Davidson is excited that there is lots of room for growth, and that the Wallis has evolved into one of the region’s most exciting multidisciplinary performing arts presenters and home base to a variety of local arts groups.

“I think anytime you’re starting a new role, there’s a lot of learning that needs to occur,” Davidson said. “And I’m not somebody that is prone to walking in with a big vision that’s going to suddenly change course. I think they’ve been doing a lot of great work and so I’m looking forward to collaborating with the team that’s there — to learn and to create a shared vision for the future.”

It’s an exciting time to be in Los Angeles, Davidson said.

“The last decade or so has seen a lot of growth in the art sector, and there are so many talented artists and organizations in L.A. that need a place to perform.”