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Meeting

April 20, 2021

1
CCAC Videoconference Public Meeting

Moderated by Mary Lannin
Tuesday, April 20, 2021
12:30 p.m.

Client Managed Remote - DC
Microsoft Teams
Washington, DC 20001

Reported by: Natalie Schmitting (by videoconference)
JOB No.:

4519672

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A P P E A R A N C E S
List of Attendees (by videoconference):
CCAC Members
Mary Lannin, Chair of the CCAC
Dr. Peter van Alfen
Arthur "Art" Bernstein
Dr. Lawrence Brown
Sam Gill
Dr. Dean Kotlowski
Mike Moran
Robin Salmon
Donald Scarinci
Dennis Tucker
Thomas Uram

United States Mint Staff
April Stafford, Chief, Office of Design Management
Megan Sullivan, Senior Design Specialist
Boneza Hanchock, Design Manager
Pam Borer, Design Manager
Roger Vasquez, Design Manager
Russell Evans, Design Manager

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A P P E A R A N C E S (Cont'd)
Joseph "Joe" Menna, Chief Engraver
Ron Harrigal, Manager, Design and Engraving
Jennifer Warren, Director, Legislative and
Intergovernmental Affairs Liaison to the CCAC
Greg Weinman, Senior Legal Counsel and
Counsel to the CCAC
Betty Birdsong, Deputy Director, Legislative
and Intergovernmental Affairs
Michele Thompson, Program Manager for the
American Women Quarters Program

Liaisons
Guy Johnson, Son of Maya Angelou
Mark Roesler, Representative of the Family of
Maya Angelou
Rebecca Cunado, Representative of the Family of
Maya Angelou

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A P P E A R A N C E S (Cont'd)
Press
Brandon Hall, Senior Associate Editor of Coin Update
and Mint News Blog
Maggie Judkins, Editor of Numismatic News
Kurt Peterson, The Mish Matist [ph]
Mike Unser, Founder and Editor of Coin News Media
Group LLC

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C O N T E N T S
PAGE
Mary Lannin
April Stafford

6, 12
16, 41, 75

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P R O C E E D I N G S
CHAIRWOMAN:
Should we start?

It's 12:30.

Where did Jennifer go?

MS. WARREN:
looking.

All right.

I'm here.

I'm just

I believe the only person we're missing is

Tom.
CHAIRWOMAN:

Here he is.

MS. WARREN:

Oh, Tom just got on.

Tom, can we hear you?

So,

Can you hear us?

MR. URAM:
MS. WARREN:

-- thank you.
Okay, great.

And then I

guess Megan will be jumping -- oh, Megan is there and
Mr. -- okay.

afternoon.

I think we're set to go.
CHAIRWOMAN:

Okay.

MS. WARREN:

-- Chairwoman.

CHAIRWOMAN:

Thank you.

Good

I would like to call to order this meeting

of the Citizens Coinage Advisory Committee for
Tuesday, April 20, 2021.
I would like to remind each member of
the committee to mute his or her phone or microphone
on the WebEx program when not talking and to announce

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your full name at the beginning of each time you
speak.

Additionally, I remind the public that this is

a listening only hearing to the public.
Before we begin, I want to introduce
the members of the committee.

Please respond

"Present" when I call your name.
Sam Gill.
MR. GILL:
CHAIRWOMAN:
DR. BROWN:
CHAIRWOMAN:

Present.
Lawrence Brown.
Present.
Dean Kotlowski.

DR. KOTLOWSKI:
CHAIRWOMAN:
MR. URAM:
CHAIRWOMAN:
MR. MORAN:

Present.

Thomas Uram.
Present.
Michael Moran.
Present.

CHAIRWOMAN:

Robin Salmon.

MS. SALMON:

Present.

CHAIRWOMAN:

Donald Scarinci.

to say "Present."

A nod doesn’t -- okay.

You have

Thank you.

Dennis Tucker.
MR. TUCKER:

Present.

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CHAIRWOMAN:

Peter van Alfen.

DR. VAN ALFEN:
CHAIRWOMAN:

Art Bernstein.

MR. BERNSTEIN:
CHAIRWOMAN:

Present.

Present.

And I'm Mary Lannin.

I'm

chair of the CCAC, and so we have a quorum.
The agenda for today's portion of the
public meeting includes the acceptance of the letters
to the secretary and the approval of the minutes from
our March 23rd and 24th, 2021, meeting; a review and
discussion of obverse candidate designs for the
American Women Quarter Dollars, which are going to be
issued from 2022 to 2025 as authorized by Public
Law 116–330; a review and discussion of reverse
candidate designs for the 2022 Maya Angelou American
Women Quarter Dollar; and, finally, a review and
discussion of reverse candidate designs for the 2022
Dr. Sally Ride American Women Quarter Dollar.
Before we begin our proceedings, I
asked the mint liaison to the CCAC, Ms. Jennifer
Warren.

Do we have any members of the press on the

call today, Jennifer?

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MS. WARREN:

Yes, Chairwoman.

Brandon

Hall, Senior Associate Editor of Coin Update and Mint
News Blog; Curt Peterson from The Mish Matist.
probably pronounced that wrong.

I

Sorry.

CHAIRWOMAN:

Okay.

MS. WARREN:

Mike Unser, the Founder

and Editor of Coin News Media Group LLC; and Maggie
Judkins, Editor of Numismatic News, and that is it.
CHAIRWOMAN:

Okay.

Thank you so much.

So for the record, I would also like to confirm that
the following mint staff are on the call today.
Please indicate "Present" after I have called your
name.
April Stafford, Chief, Office of Design
Management.
MS. STAFFORD:
CHAIRWOMAN:

Yes, here.
All right.

Megan

Sullivan, Senior Design Specialist.
MS. SULLIVAN:
CHAIRWOMAN:

Present.
Boneza Hanchock, Design

Manager.
MS. HANCHOCK:

Present.

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CHAIRWOMAN:

Pam Borer, Design Manager.
Present.

MS. BORER:
CHAIRWOMAN:

Roger Vasquez, Design

Manager.
MR. VASQUEZ:
CHAIRWOMAN:

Present.
Russell Evans, Design

Manager.
MR. EVANS:

Present.

CHAIRWOMAN:
MR. MENNA:

Joe Menna, Chief Engraver.
Present.

CHAIRWOMAN:

Ron Harrigal, Manager,

Design and Engraving.
MR. HARRIGAL:
CHAIRWOMAN:

Present.
Jennifer Warren, Director,

Legislative and Intergovernmental Affairs and Liaison
to the CCAC.
MS. WARREN:
CHAIRMAN:

Present.
Greg Weinman, Senior Legal

Counsel and Counsel to the CCAC.
MR. WEINMAN:

Good afternoon, Mary.

Present.
CHAIRMAN:

Good afternoon.

Betty

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Birdsong, Deputy Director, Legislative and
Intergovernmental Affairs.
MS. BIRDSONG:
CHAIRMAN:

Present.

Michele Thompson, Program

Manager for the American Women Quarters Program.
MS. THOMPSON:
CHAIRWOMAN:

Present.
All right.

And, finally,

the following liaisons we hope will be on the call
today.

Guy Johnson, who is the son of Maya Angelou,

Mark Roesler, a representative of the family of Maya
Angelou, and Rebecca Cunado, representative of that of
the Maya Angelou.

So I'd like to thank you all for

joining us today.
So I'd like to begin with the mint.
Are there any issues that need to be addressed before
we start?

I'm not hearing any.

Okay.

The first item in our agenda is the
review and the approval of the minutes and
secretaries' letters from our March 23rd and 24th
meeting.

Does anyone have any comments?
UNIDENTIFIED SPEAKER:

[Unintelligible

response.]

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CHAIRWOMAN:

Is there a motion to

approve the minutes and letters?
DR. VAN ALFEN:
Alfen.

This is Peter van

I move to approve.
CHAIRWOMAN:

Is there a second?

MR. BERNSTEIN:
CHAIRWOMAN:

Art Bernstein, second.

Thank you, Art.

All those

in favor, please signify by saying "Aye."
(Whereupon, multiple unidentified
participants responded affirmatively.)
CHAIRWOMAN:

Are there any objections

to the motion?
I don't hear any objections, so the
minutes and the letters are approved.
Okay.

Before we start, I'd like to say

that this is really, really an exciting series for me.
I'm chair.

I've been chair for the second time, and

so I appreciate all of you thinking that I can do this
as a good job.
You know, we have a chance with the
American Women Quarters Program to redress a wrong
that's over 90 years old.

And this has to do with the

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obverse.

We're going to talk about all the obverses

that are presented to us, because we've had artists
and AIP people that have worked really, really hard on
providing us with a wide variety of visions of what
they think that George Washington looks like.

But

there's one particular one that's kind of an artist
that's no longer with us, and I would like Mike to
talk about Laura Gardin Fraser.
MR. MORAN:

Thank you,

Mary.

I wasn't

quite prepared for that, but I certainly will.
As many of you know, she was married to
James Earl Fraser. Both of them were excellent
sculptors in their own right.

They partnered on the

Oregon Trail Commemorative half dollar.
In 1931, Laura participated in a
competition to design a commemorative coin for the
women at the Washington home place, Mount Vernon.
This later became the quarter.

And, again, she

participated in that competition.
At that point in time, none of the
names of the artists were known as the designs were
reviewed by the Commission on Fine Arts.

They were

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It was later found out that her

only by numbers.

obverse and reverse were the ones chosen by the
Commission.

However, the Secretary of the Treasury,

Andrew Mellon, overrode them, and we have the quarter
that we have today.
In my opinion, I prefer Laura Gardin
Fraser's rendition, both obverse and reverse.
it's excellent.

I think

The one thing that struck me at the

review of these designs is how beautifully it has
stood the test of time.

It certainly is as good today

as it was in 1931.
And I'll bring up one other little,
small point.

James Earl Fraser, after this was all

said and done, the family could have been bitter about
it, but they chose not to be.

And there is a letter

in the archives at the University of Syracuse, I
believe it's there, where Fraser writes a
congratulatory note to John Flanagan for his winning
design on the quarter.

But I think it's Laura Gardin

Fraser's turn this time.
CHAIRWOMAN:

Thank you, Mary.
Thanks, Mike.

All right.

So now we're going to move to the consideration of all

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the obverse candidate designs for the American Women
Quarter Dollars Program authorized by Public
Law 116-330.

And April Stafford will present the

portfolio designs.
MS. STAFFORD:

Thank you.

provide a little bit of background.

And I'll

The Circulating

Collectible Coin Redesign Act of 2020 requires the
Secretary of the Treasury to issue up to five quarter
dollars each year emblematic of prominent American
women beginning in 2022 and continuing through 2025.
The women to be featured on these
reverse quarter designs are selected in accordance
with a selection process approved by the Secretary and
in consultation with the Smithsonian Institution's
American Women's History Initiative, the National
Women's History Museum, and the Bipartisan Women's
Caucus.
The United States Mint intends to honor
five women each year of the program, as authorized by
the legislation.

To meet its manufacturing schedule,

the mint is presenting designs for two of the five
2022 honorees at this meeting and will present the

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remaining three at the June session.
So the obverse candidate designs, I
appreciate Mr. Moran sharing that background.

There's

a little bit of further information as required by the
legislation.

The design on the obverse, quote, "shall

maintain a likeness of George Washington and be
designed in a manner so as to distinguish it from the
obverse design used during the previous quarters
program," end quote.
This design will be used on the obverse
of all of the coins issued in the four-year series
honoring significant American women.

The obverse

candidate designs you'll see today feature a variety
of depictions of George Washington including images of
Washington on horseback.
As noted, Design GW-01 was originally
created by prominent American sculptor, Laura Gardin
Fraser, for the bicentennial of George Washington's
birth in 1932.

It was, indeed, recommended for the

1932 quarter by that bicentennial committee and the
U.S. Commission of Fine Arts, but then Secretary
Mellon selected John Flanagan's design instead.

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design was ultimately placed on a noncirculating gold
commemorative coin in 1999 to commemorate the 200th
anniversary of Washington's death.
The remaining candidate designs you'll
see are all newly created for this program, and I
should note that the other quarter programs that are
authorized by the Circulating Collectible Coin
Redesign Act also allow for a redesign of the quarter
obverse.

And so any feedback you can give us on these

designs can also be used by mint artists so that when
we come to you in the future looking at altering the
obverse, we can share that feedback with them.
The designs all contain the required
inscriptions, "liberty," "in God we trust," and the
year of issuance.

Some designs contain additional

inscriptions such as "valor," "honor," or
"Washington."
So with that, we start here with
obverse Design 1, the Laura Gardin Fraser design.
This was, in fact, the U.S. Commission of Fine Arts'
recommendation.

Design 2, 3, 7, 8, 9, 13, 14, 15, 16,

and 17.

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Madam Chair, that concludes the
obverse candidate designs.
CHAIRWOMAN:

Thank you so much.

So I'd

like to ask Joe Menna and Ron Harrigal if they have
anything to share with us about the obverse designs.
MR. HARRIGAL:

This is Ron, and I'll

defer to Joe on any comments here.
CHAIRWOMAN:
MR. MENNA:

Thank you, Ron.
All right.

I think the

artists did a great job presenting, you know, offering
a nice selection.

The Gardin Fraser design appears

different because it's a digital render, you know, so
it's going to have more of an impact.

But it deserves

that treatment because it's such a wonderful,
wonderful point, I think.
committee member.

I'm not trying to be a

I'm just saying as a sculptor

looking at this, this is just like magical.
all.

So that's

Thank you.
CHAIRWOMAN:

Thanks, Joe.

Okay.

So

we're going to begin our consideration, and I would
like the members to keep their comments to five
minutes or less.

And please identify yourself by your

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full name for Natalie so she can take appropriate
notes.

And so we're going to be keeping track of

time, and try to wrap up your comments at the fiveminute mark.

And so if any members have questions or

comments on any of the discussion, please refrain from
discussing it until you're recognized or at the end of
the discussion on this program, and I'll ask for
additional comments.
All right.

Robin, would you mind

beginning for us?
MS. SALMON:
Robin Salmon.

Thank you, Mary.

This is

Can you hear me?
CHAIRWOMAN:

Yes, I can.

MS. SALMON:

Okay.

All of these

designs were very interesting to go over.

I thought

the artists did well with something that is such a -it's a very known subject, but they also brought other
aspects to their designs of George Washington.
beat Laura Gardin Fraser, that's for sure.

Can't

I do love

that, and I love the historic heritage of this
particular coin, the fact that we now have an
opportunity to utilize it, and the fact that it is a

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woman who designed this.
I would also note that Designs 9 and 13
I thought were particularly well done.

The addition

of the words "valor" and "honor" on that particular
design for No. 9 is I think an interesting one.
a good likeness.

It's

And then No. 13, aside from not

being a true portrait of him, it's an iconic image of
George Washington on horseback.

And I like the fact

that it is not the full figure or the full horse.

And

I thought the artist did a very nice, clean design
with this.

Thank you very much.
CHAIRWOMAN:

Thank you so much, Robin.

I would next like to call on Dr. Lawrence Brown.
DR. BROWN:
you so much.

Good afternoon, and thank

This is Lawrence Brown, and I am really

pleased to be able to speak on this design.

And I'm

pleased with, really, Madame Chair -- I'm going to
focus on Design 1 because of the comments that we've
heard earlier, and I think because of historic
significance that this would be a coin that would
cause many of the public to take a second look.
second look would be enough to ask questions.

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those questions and answering them gives an
opportunity to tell history.

And the only thing that

would have made this even more relevant is the fact,
had it occurred in the month of March.

As we know,

that's National Women's History Month.
And, again, I agree with Robin about
the artists' renditions that they provided.
fantastic.
history.

This was

But I think it's kind of difficult to beat

And given the fact that this design was so

fantastic in itself that it was repeated on the
commemorative gold coin, it just speaks to the fact
about its relevance, its artistic portion of it.

So,

Madame Chair, those are my comments.
CHAIRWOMAN:

Thank you, Dr. Brown.

Donald Scarinci, please.
MR. SCARINCI:
Dr. Brown.

So I have to agree with

This happens to be a moment that I never

thought I was going to have on the CCAC -- to be able
to vote for Laura Gardin Fraser to finally have her
design on the quarter.

And this is a no-brainer, and

I'm sure this is going to be the one.

I'd be

surprised if it isn't.

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I would normally call for -- I would
normally just cut this off and call for a motion on
this, because that's how confident I am this is going
to be the winner.

You know, but I think this is

important, and we need to have the record for the
memory of Laura Gardin Fraser and to right this -- I
can't say it was a wrong, because the Flannagan design
was a brilliant design, you know, and it served
America well for a long, long time.

This is just, you

know, a really outstanding George Washington.
So, obviously, you know, it's going to
be a great moment to cast my vote for this.
going to get all of my votes.

It's

But even though it's

going to get all of my votes, my compliments go to the
artist who are really, you know, some really fabulous
designs that I would like to see in the future for
other things.

You know, I think there's nothing even

in this portfolio that I wouldn't like to see come
back to us, honestly.

I think that they're all, you

know, very good, very good portraits, very original,
very original, very nice original works of art.
I'd like to see all of it come back to us. I

So

would

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give all of it a merit.
great job on this.

You know, everyone did a

You know, nobody should be

disappointed about coming in second place to Laura
Gardin Fraser.
CHAIRWOMAN:
much, Donald.

Okay.

Thank you very

Michael Moran, would you like to add

anything?
MR. MORAN:

Only one thing, Laura.

In

looking at the design -CHAIRWOMAN:

Laura?

Mary.

I don't

have her talent.
MR. MORAN:

I think the mint mark would

be more appropriate below the date rather than above
the date on Design No. 1.
CHAIRWOMAN:

Good point.

So do you

have anything else to say about the -MR. MORAN:

I had my shot, my two

minutes of glory earlier.
CHAIRWOMAN:
much.

Thank you.

All righty.

Thank you so

Tom Uram, please.
MR. URAM:

Tom Uram here.

Thanks, Madam Chairman.

Yes, I would agree particularly with

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Donald.

It's just great to be able to, you know,

recognize this.

And I echo my other colleagues who

have voiced the same.

And can't say much more about.

And she was also the first that did the Society of
Medalists, just a great rendering there as far as her
participation and her history throughout her career
with many, many designs, and certainly this being
iconic, so one that's going to get all of my attention
as well.
And as Donald said, I think all of the
artists, there's some great things that we'd love to
see back here again.

In particular, I like No. 16.

I

liked 3 first, but that's kind of more of a stoiclooking approach.

But 16, I think, is a really nice,

soft George Washington that could be relative in the
future, as many of these designs would be.
Chair, that concludes my remarks.

So, Madam

Thank you.

All in

on 1.
CHAIRWOMAN:.
much, Tom.

All right.

Thank you so

Sam Gill.
MR. GILL:

This is Sam Gill.

Thank you, Madam Chair.

I'm going to join my colleagues and

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certainly select No. 1.

It's such an iconic image.

If I knew nothing about the history of it, it would
jump right out at me today, so I'm very, very happy to
support it.

And I think we can all be very, very

proud of this series when it starts in January.
I also want to commend the artists.

It

was a tough assignment, and they did a very, very fine
job, and there's a lot of things here, a lot of
designs here that could certainly help us going
forward.

I particularly, as Robin, like the

Washington on horseback on No. 13, and I certainly
thought that No. 7, No. 8, and No. 9 were very, very
strong likenesses.

But they're all very, very good,

and so I commend the artists, and we're really happy
that we can do this today.
CHAIRWOMAN:

Thank you, Mary.
Thank you very much, Sam.

Dennis Tucker.
MR. TUCKER:
This is Dennis Tucker.

Thank you, Madam Chair.

I'll mention briefly a couple

other designs other than No. 1 that stood out to me.
No. 2, to my eye, was reminiscent of the Lafayette
Silver Dollar of 1900, and that caught my attention.

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No. 13 has well-balanced inscriptions and an unusual
view of George Washington.
and 13.

I liked both of those, 2

Seventeen was a bit Napoleonic for my taste,

but I do like the fact that it's an innovative view
other than a standard profile portrait.
So moving on to No. 1, I would say that
Secretary Mellon had every right to choose Flanagan's
design.

That's how the process works.

The Secretary

of the Treasury gets to receive recommendations and
then make the decision.

And his successor, Ogden

Mills, had every right to uphold that.

But Fraser's

design was clearly the better portrait.

It's more

closely attuned to Houdon's classic bust of
Washington, and I think it's time for her coin to
circulate day to day in American commerce.
The quarter dollar is our workhorse
coin.

They're minted in the billions, and this

wonderful design will be seen and it will be talked
about if we make our recommendation and if the
secretary chooses it as well.

Thank you, Madam

Chair.
CHAIRWOMAN:

Thanks so much, Dennis.

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Dr. Dean Kotlowski.
DR. KOTLOWSKI:
Kotlowski.

This is Dr. Dean

I could almost envision an end of a

nightly news segment that begins with the words,
"Justice for an American sculptor after 90 years when
we return."

And I think this would be wonderful

publicity for the mint and the coin and getting people
thinking about coinage.
George Washington, for historians at
least, is famously difficult to capture in all of his
dimensions.

Joseph Ellis called him "the man in the

moon," old, somewhat remote.

Marcus Cunliffe in a

book that maybe some people have read in undergraduate
days wrote George Washington: Man and Monument.
Where's the man and where's the monument, and where do
the two meet?"

Conliffe said basically the man built

his own monument, and the two almost merged.
And when I look at Laura Gardin
Fraser's portrait, if we can zoom in on that, what she
has done -- I like Tom's point about another design
looking too stoic with the mount.

She's able to

create a sense of his seriousness of purpose.

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cheek muscles, you see the strength, the strength of
character.

The looking ahead, straight ahead, the

sense of vision.

All of these come together with a

sense of statesmanship and a commanding presence that
she is able to achieve with remarkable ease.
actually like the Flanagan design.

And I

Obviously, this

one, I think, is better, but I still like the Flanagan
design as well.

And I just think it's absolutely

magnificent and breathtaking and has my fullest
support.
I want to say a few things about some
of the other designs, because, again, I think the
whole portfolio that we're looking at today is just
magnificent, and the rich variety that we have.

I

liked number -- you know the one that I was drawn to
because it was so different was No. 14.

And maybe it

doesn't look distinctively enough like the man
Washington, but it looks like the monument, and it
made me think about him in a somewhat different way.
I also liked Nos. 7 and 8.

Seven and

eight gave me a view of a thoughtful and a somewhat
softer Washington.

And I thought that that was very,

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very important.
And No. 16 really I thought was a good
kind of classic design and something that we might
want to consider in the future.

I think it's also

amazing here -- I'm going to say a little bit more
about this little bit later.

I think I have about a

minute or so left.
The de facto pairing of George
Washington on the obverse with a prominent American
woman on the reverse in terms of history and
historiography, it so nicely brings traditional
political history together on the one side and then
newer forms of history on the other side.

Women's

history really emerges, starts to emerge as a major
field beginning of the 1960s.

And I love how that's

brought together as a presidential historian who tries
to bring in, you know, more social history and seeing
our presidents in a different light.

This de facto

pairing is absolutely magnificent and inspiring.
And

thank you very much, Madam Chair.
CHAIRWOMAN:
thoughts, Dean.

Thank you for your

That's very wonderful.

Peter van

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Alfen.
DR. VAN ALFEN:
Chair.

Thank you, Madam

This is Peter van Alfen.

I can only agree

with my colleagues such as Donald, who have said that
this really is a historic moment when we are able to
vote on artwork produced by Laura Gardin Fraser, one
of my favorite American sculptors.
And, in fact, there was for a long time
available on YouTube a video of Laura Gardin Fraser
producing a medal, walking through the various steps.
In fact, when the ANS, they did a version of that that
they released in the 1990s, former chief engraver,
Elizabeth Jones, narrated part of the video.

So we'll

see if we can get that posted again on YouTube before
this coin comes out, which I do hope will have
Fraser's obverse on it.
I do have to agree with my colleagues
as well that there are some really outstanding designs
in this portfolio as well.

I was really rather drawn

to 7, 14, and 15 particularly, because there seems to
be an aspect of Washington, an aspect of his
personality that really comes through, which you don't

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necessarily see, you know, in a straight profile view
much like the Flanagan or even Fraser's, you know,
wonderful portrait there.

So, again, I'd like to just

commend the artists on the work that they've done
here, and thank you.
CHAIRWOMAN:

Thanks so much, Peter.

Art Bernstein, please.
MR. BERNSTEIN:
Bernstein.

Hi.

This is Art

I concur with my colleagues, a big

supporter of Design No. 1.

I heard of Ms. Stafford

point out that the new obverse needs to be
distinguished from the previous design, and the fact
that George Washington's facing the other way I think
is noteworthy and will certainly distinguish this
design from the previous one.
As we were asked for comments about the
other designs, I like No. 17, but I would want to
point out that my eye was immediately drawn to General
Washington's hand.
was he signaling?

And I found myself wondering, what
It actually looks a little like the

Cub Scouts salute, and I would just suggest we should
be careful in future designs as to what he's doing

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with his hand.

But I'm a big supporter of No. 1.

Thank you.
CHAIRWOMAN:

Thank you so much, Art.

Of course, I'm coming up last, as I should be.
more can we say about No. 1?

What

This is my design.

It's

going to get my vote, but I want to make some comments
about the other designs that we have in front of us.
I think the artists are lucky that
George Washington lends himself to such iconic
drawings.

There's nothing that we saw in this

portfolio that would lead us to believe he was
anything but George Washington.
No. 14, as Peter was.

I was drawn to

I liked No. 8.

I like No. 7.

And as sort of a softer version of the Father of Our
Country, I liked No. 16.

He looks like he's possibly

dreaming of what America could be.

So those are my

comments.
Do we have any other comments from
members at this time?
DR. VAN ALFEN:

Madam Chair, this is

Peter van Alfen.
CHAIRWOMAN:

Sure.

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DR. VAN ALFEN:

This is more of a

technical question for Joe or Ron.

Is there a plaster

of Fraser's work that exists, and would that be used
to create the dyes?

Or what would be the process

then?
CHAIRWOMAN:

That's a good question.

Joe?
MR. MENNA:

The model that you see

there is very much what you probably see in the final
tooling, what we would call tooling model that the
coin would be generated from.

And this model was put

together via a combination of assets including the
kind that you've discussed that we found to be the
most accurate and historical and representative of
what Laura Gardin Fraser's intent was artistically.
So this is as close as we feel we can get to
presenting her vision sculpturally without diluting it
in any way.
CHAIRWOMAN:

Thank you, Joe.

MR. TUCKER:

Madam Chair, this is

CHAIRWOMAN:

-- any other questions?

Dennis Tucker?

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MR. TUCKER:
DR. BROWN:
Lawrence Brown.

Madam Chair?

Madam Chair, this is

I have a question.

CHAIRWOMAN:
DR. BROWN:

Certainly, Dr. Brown.
This is Lawrence Brown

again, and probably this is for Joe and Ron as well.
I was wondering if you can share with the public the
nonconsecutive designations of the design.

Can you

share the reasons for that?
MR. MENNA:

This is Joe.

I'm not sure

I understand, Doctor.
DR. BROWN:

So the designs go from

one -- they don't go numerically each step. It skips
some numbers.

So I'm wondering whether there were

submissions that the mint thought were not worthy of,
in fact, presenting?

Is there any reason why we have

nonconsecutive numbers?
MS. STAFFORD:
is April Stafford.

I can answer that.

This

Yes, some designs were pulled

because many of them were essentially versions of ones
that were seen here, and it was very important to our
team but to the chief engraver that the portfolio be

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the best that it can be in order to present our best
foot forward, not just for this obverse but the
obverses that might be coming in future coin programs.
DR. BROWN:

I think that's very

important for the public to be able to appreciate
that.

Thank you so much, April.
CHARWOMAN:

you, April.

Thank you, Lawrence.

Thank

Any further questions?
MR. TUCKER:

Madam Chair, this is

Dennis Tucker.
CHAIRWOMAN:

Yes, Dennis?

MR. TUCKER:

I'd like to express my

agreement with Mike Moran's suggestion on moving the
mint mark on Obverse 1, if Obverse 1 is our
recommendation, to beneath the date rather than above
the date.

And I could make a motion to that effect or

however you recommend we go about making that
distinction.
UNIDENTIFIED SPEAKER:

Do you want

to -MR. TUCKER:

At any rate --

CHAIRWOMAN:

Wait for the Chair to make

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a motion.
MR. WEINMAN:

Madam Chair, do you want

to wait until you actually see where the scoring comes
out before you -CHAIRWOMAN:
MR. WEINMAN:

Okay.
-- make a motion?

It

just might be easier that way, unless -CHAIRWOMAN:

All right.

I will be

happy to wait, Dennis, and I'll get back to you.

So

we should have sent to us our score sheets that we
need to fill out.

Don't forget to fill out for all

the designs, please.

Artists worked really hard to

present us their vision of what George Washington
looks like, and we should be appreciative of that.
So is now -- Greg, how long would you
need to get our designs together, do you think?
MR. WEINMAN:

It obviously depends how

quickly everybody gets the results to me, but I'd say
let's give ourselves 10 minutes, and I'll let you know
where we are.
CHAIRWOMAN:
little bit more?

Okay.

So how about even a

How about 1:20 we come back?

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that fine?
MR. WEINMAN:
MR. SCARINCI:

Certainly.
You know, Mary, so that

we don't waste time, I think we can go ahead with
motions.

There's no mystery here.

I mean Greg can

tell you.
MR. WEINMAN:
MR. SCARINCI:

Sure.
Why don't we start the

motions, and if it doesn't win for some fluke reason,
we can just -MR. WEINMAN:

Actually, one option,

just so you know, you could still score it so we have
feedback on the designs.

But you could always make a

motion right now on what the committee's
recommendation is.
CHAIRWOMAN:

Donald?

MR. MORAN:

Mary, can I step in?

CHAIRWOMAN:

Oh, yes, Michael.

Please

step in.
MR. MORAN:

Mike Moran.

I move that we

accept by unanimous consent Design No. 1.

I'll let

Dennis make the motion on the mint mark, and I'll

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second that when he makes it.
MR. SCARINCI:
CHAIRWOMAN:

Thank you, Mike.
Who wants to second this?

Donald?
MR. SCARINCI:

Me, yes.

CHAIRWOMAN:

Donald.

Of course.

MR. TUCKER:

And I would make a

All

right.

friendly amendment on the mint mark.
CHAIRWOMAN:

Okay.

MR. SCARINCI:

With the amendment.

Let's do it all in one motion.
MR. MORAN:

All right.

One other

comment on the original -- the gold piece of 1999, the
mint mark was below the date.
CHAIRWOMAN:
All right.

Thank you.

Thank you.

So the combined motion is, Mike, and

seconded by Donald, that we take the Laura Gardin
Fraser original design and make it unanimous, and it
includes Dennis' friendly amendment that we move the
mint mark to below the date of 2022.

All in favor say

"Aye."

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(Whereupon, multiple unidentified
participants responded affirmatively.)
CHAIRWOMAN:

Any opposed?

Motion

passes.
MR. URAM:

Madame Chairperson?

Tom

Uram.
CHAIRWOMAN:
MR. URAM:

Yes, Tom.
I would suggest that maybe

we still send our scoring sheets in even though we're
going to continue on, because it might be -CHAIRWOMAN:
Greg just said.

Absolutely.

That's what

So I'd like everybody to send their

score sheets in for merit.

And it is 1:09, and we

will meet back still at 1"20.
MR. SCARINCI:

Why don't we continue

on, or can't we?
MR. WEINMAN:
forward.

That's okay.

I think you can go

You don't need to wait for me.

If you want to move forward -MR. MORAN:

We don't need to go to the

bathroom.
MS. WARREN:

This is Jennifer.

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might want to at least give a little time.
we told the liaisons a little bit later.
know.

I believe

I don't

I think Maya Angelou's son, Mr. Johnson, is on,

but I'm not sure if the rest of them are.
CHAIRWOMAN:

Okay.

I'd like to take --

MS. WARREN:

-- might be able to tell.

CHAIRWOMAN:

-- a 10-minute break for

people to do things.
UNKNOWN SPEAKER:
CHAIRWOMAN:

Okay, 1:20.

1:20.

(Off the record)
CHAIRWOMAN:
start up the meeting again.

-- and I would like to
Greg, is there anything

that we need to know?
MR. WEINMAN:
in.

Yes.

The scoring came

Not surprising, Obverse 1 received a perfect 33

out of 33 possible points and is, in fact, the highest
vote getter.

Obverse 2 received three points,

Obverse 3 received three points, Obverse 7 received
seven points, Obverse 8 received three points,
Obverse 9 received four points, Obverse 13 received
four points, Obverse 14 received four points, Obverse

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15 received three points, Obverse 16 received four
points, and Obverse 17 received two points.
CHAIRWOMAN:
Thirty-three.

Thank you very much, Greg.

We did it.
Okay.

So, April, are you with us?

MS. STAFFORD:
CHAIRWOMAN:

Yes.
So April is going to tell

us about the reverse candidate designs for the first
coin in this program, the 2022 Maya Angelou American
Women Quarter Dollar.

And we're honored to have

Mr. Guy Johnson, Maya Angelou's son with us, and I
hope that we have two other liaisons with us as well.
Thank you.
MS. STAFFORD:

All right.

Thank you.

The reverse designs for this program, quote, "shall be
emblematic of the accomplishments and contributions of
one prominent woman of the United States and may
include contributions to the United States in a wide
spectrum of accomplishments and fields including but
not limited to suffrage, civil rights, abolition,
government, humanities, science, space, and arts, and
should honor women from ethnically, racially, and

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geographically diverse backgrounds," end quote.
The 2022 reverse designs are presented
in alphabetical order by honoree name and do not
necessarily reflect the order of release.

Designs

have all been reviewed by experts at the Smithsonian
and the National Women's History Museum as well as
family members or family representatives of the
honorees.
During the design review process, we
learned that the mint's subject matter experts and the
family members strongly prefer designs that
incorporate the honoree's image.

In this way, not

only are the women's contributions highlighted, but
also the women themselves.

Inscriptions on the

reverse designs include "United States of America,"
"e pluribus unum," and "twenty five cents," "quarter
dollar," or the numbers "25" with the cent symbol.
So we will begin first by looking at
the Maya Angelou candidate designs.

Some background,

Maya Angelou was a poet, singer, memoirist, and civil
rights activist.

Through her prolific writing career,

she's perhaps best known by her autobiographies such

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as I Know Why the Caged Bird Sings, which depicts
Angelou's adolescence in which she transforms from a
victim of racism into a self-possessed young woman
capable of responding to prejudice.

These designs

were reviewed by Maya Angelou's son, Guy Johnson, and
his preferences will be indicated.
Experts at the Smithsonian prefer
designs in which Maya Angelou herself is depicted, as
her work was much more than her most famous book.

As

one of our stakeholders said, "Given the history of
black women in portraiture, to have a coin without her
image would be a misstep."
We're pleased to have Maya Angelou's
son, Guy Johnson, on the call.

Would Mr. Johnson or

one of his representatives like to say a few words to
the committee?
MR. JOHNSON:

Yes.

And, by the way,

hello and good afternoon to you.
First off, the family is extremely
honored by this opportunity, and we are grateful that
you have selected Maya Angelou for consideration.
There were several designs that I

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looked at, and one of the things -- my mother was a
dancer.

And I don't believe you can find a picture

where she is not in line.

Her whole form, everything

about her was -- she had a stage presence, and that
stage presence was evident every time her picture was
taken.

And so the design that I like best, I can't

see it here, but it was the one where -- it was an
image with the outstretched arms.
there.

That one right

I thought that represented her better than the

other ones.

And I say that because I thought the

other ones -- and I was appreciative of the artists
attempting to portray her, but they didn't know her.
And so some of these images of her were a little
stodgy, and this one reflects more the fact that she
was a dancer as well as an activist as well as a poet,
a film director.

You know, she was so many things.

Larger than life, actually, and so this is a wonderful
portrayal of her.

Although it may not look exactly

like her, it looks like a stance that she would have
taken as a young woman.
CHAIRWOMAN:
MR. JOHNSON:

Thank you so much.
Yeah.

It sounded like

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perhaps that was a non-sequitur and no one felt there
was anything to say after.
CHAIRWOMAN:

April, do you want to

continue?
MS. STAFFORD:

Yes, ma'am.

Thank you

so much, Mr. Johnson.
MR. JOHNSON:
MS. STAFFORD:
start with Design 1.

Thank you.
All right.

So we'll

This depicts a visual

interpretation of Maya Angelou's I know Why the Caged
Bird Sings along with the additional inscription,
"Maya Angelou."
Design 2 depicts Maya Angelou with arms
uplifted.

Behind her are a bird in flight and the

rising sun, images inspired by her poetry and symbolic
of the way she lived.
"Maya Angelou."

The additional inscription is

This, again, is the preferred design

of Mr. Johnson, and it aligns with the feedback on
preferences provided by the Smithsonian.

It is also

the recommendation of the U.S. Commission of Fine
Arts, who suggested that the mint consider including
small revisions including perhaps tapering the beak of

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the bird depicted here to indicate more strongly that
this is a songbird, and perhaps as much as the
composition would allow, enlarging her slightly but
not too much so that that beautiful position of her
arms and that composition is negatively impacted.

So

that could be something that we hear from the CCAC if
you would be willing to comment on that.
Moving on to Design 3, this depicts a
bird that has just flown out of a birdcage, inspired
by I Know Why the Caged Bird Sings.

This is the

second preferred design of Mr. Johnson.
Design 4 depicts Maya Angelou with a
birdcage in one hand and a bird perched on the other,
representative of her book, I Know Why the Caged Bird
Sings.
Design 5 depicts a dove of peace
landing on an open book.
Design 6 depicts a stylized ink quill
as a bird with an ink bottle in the background,
representing Maya Angelou's writing.

The additional

inscription is "Maya Angelou."
And, finally, candidate Design 7

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depicts an origami bird against the stylized birdcage,
representing her book, I Know Why the Caged Bird
Sings.

The additional inscription is "Maya

Angelou."
Madam Chair?
CHAIRWOMAN:

Thank you so much, April.

Do Ron or

Joe have anything to say about these designs

in

terms of striking?
MR. HARRIGAL:

This is Ron.

Joe, do

you have any concerns or any comments you would like
to make?
MR. MENNA:

Just if as per the CFA's

request that the figure be upsized, I think would
be -- if we want to keep her arms in that gesture, I
think that her left hand would have to be placed
dangerously close to the border.
CHAIRWOMAN:

That's all.

Thanks, Joe.

All right.

So I'm going to go to our members now, and I would ask
them to please keep everything to five minutes or
less.

So let me begin with Dean Kotlowski, please.
DR. KOTLOWSKI:

Chairperson.

Thank you, Madam

This is Dean Kotlowski.

Mr. Johnson,

it's wonderful to have you with us today and to be

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able to honor your mother.
exciting.

This is extraordinarily

I am so grateful for your comments.
I was immediately drawn to No. 2.

suggests an energy, optimism.

It

I was drawn to the rays

of the sun, and that put me in the mind of the Walking
Liberty half dollar, which is such a beautiful design.
It's come back in various forms, and I think that this
is very much in that tradition.
I am an occasional coin collector and a
diligent stamp collector, and I think this design
would work nicely as a marketing tool with the postage
stamp that shows a portrait of Maya Angelou and a
quotation.

We could somehow pair them and market that

in some way.

I think it would be absolutely

wonderful.
I want to give a shout-out to some
other designs here that -- I thought that these
designs were just fantastic.

And there were three

others that really stood out to me.
was terribly clever.
No. 2.

I thought No. 1

Again, my full support is for

I think the portrait is very important going

forward.

But let's go back to No. 1, the caged bird

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apparently singing her name, really, really well done,
in my view.
And the other two designs I liked, I
like No. 6.

I thought No. 6, to use the word again

"clever" here, this was really well done.

I never

would have thought to do something like this, to
emphasize writing with an ink pen, and to make that
figure a bird the way it is.
And I actually like No. 7.

I think it's wonderful.

Very stylized.

Who

doesn't like an origami bird and a stylized cage?
like this a lot.

I

I wonder whether the general public

would sort of get this when they first see it.

But

it's something that I think that we should consider.
And, you know, Madam Chairperson, I
just want to take another minute here and talk a
little bit about the historical significance of what
we're doing this quarter design.

And I looked at past

quarters and the de facto pairing here.

I think that

this is an important moment with this particular coin
for reflection, commentary, and conversation in the
best sense of all of these words, because you have an
American founding father, who among his many aspects

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of his life, he was a slaveholder.

And you have on

the reverse an African-American woman who wrote about,
and you're seeing this very energetically, about
freedom.

And I think that that is an exceptionally,

you know, poignant moment.
I'm going to mention this a little bit
when we talk about Sally Ride.

He's also been de

facto paired in the state quarters with Helen Keller
and with Duke Ellington and with Frederick Douglass in
the national parks.

But the pairing with Maya

Angelou, an African-American woman, I think is very
special.

Thank you very much.
CHAIRWOMAN:

Thank you so much, Dean.

Michael Moran, please.
MR. MORAN:

Thank you, Mary.

I've

learned a couple things just from listening so far
today.

I came into this process on the backs of these

quarters, thinking that it should be more the
accomplishment rather than the individual.

I think

I've been disavowed of that thought.
I also felt like that while we pay
attention to the sponsors for gold medals, that

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certainly quarters need to be really defined by their
art.

And, again, I thought Mr. Johnson's arguments

for No. 2, which happened to be my choice to begin
with, although I had some reservations, really sealed
the deal for me.

And I will pay attention to those

going forward.
In terms of No. 2 and enlarging the
figure, I really think that you are playing with fire
there, because I think you run the risk of destroying
the integrity of the design.

Joe brought it out in

terms of some of the practicalities there.

I don't

think you can enlarge it enough to accomplish whatever
it was that the Commission on Fine Arts was looking
for when they suggested that the figure be enlarged.
I do get it about the beak.

That's a minor thing.

But the design is excellent.
I would also like to praise Design
No. 6.

It also was my choice in going forward in this

portfolio because of the unique representations here.
That's creative.
encourage that.

It's good, and we always want to
But, again, as I said, I'm convinced

that we need to portray the people involved along with

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their achievements, and this doesn't quite fill the
bill.
No. 7 deserves one comment.

I think it

is good in terms of the design, but when you think
about putting it on quarter and realizing that you
need to have some negative space to emphasize the
simple design theme, it does not work on a coin.
And, finally, I noticed the 25 cents
versus the quarter dollar.
space.

You're not saving any

If anything, you're taking up space converting

the 25 cents.

I'm with, I believe it was Dennis who

brought this up earlier in the administrative session.
I'm a purist about this.
It's

quarter.

Leave it alone.

CHAIRWOMAN:

Chair.

It's a quarter dollar.
Thank you, Madam

All right, Michael.

Peter

van Alfen.
DR. VAN ALFEN:

Thank you, Madam

Chair.

I really do like No. 2, and I have to say

that

this will be certainly getting my vote.

one of

And

the things that really struck me about

this design is

that I have been hard pressed

trying to find this
ancient coin.

gesture on any other modern or

As far

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as I can tell, this gesture of Maya with her arms
outspread in this fashion, I mean it could well be
unique, which really would be, you know, rather a
wonderful thing, you know, for this coin.
I also have to agree with Dean, that I
think that No. 1 and No. 6 are very clever designs,
and both of those really caught my eye.

The concern

that I have about No. 6, though, whether or not on a
quarter, on a smaller scale, the image of the bird as
the tip of the pen there would be lost.

You know,

when it's enlarged, it obviously comes through and is
very clever and really eye-catching.

But, you know,

again, I'm just a little concerned that if this were
to be struck, you know, whether or not that detail
would be lost.
But overall I really have to say this
is a wonderful portfolio, some really great designs.
And I really appreciate Mr. Johnson's comments as
well, you know, the insight about his mother being a
dancer, which really lends, again, you know, to the
selection for myself for No. 2.

I think, you know,

that aspect of Ms. Angelou is really wonderful, so

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thank you.
CHAIRWOMAN:
Peter.

Thank you very much,

Tom Uram, please.
MR. URAM:

Thank you, Madam Chair.

Yeah, these are really nice, and I would agree with
several of the comments already made.

I'm certainly

going to -- Mr. Johnson, thank you for your thoughts
and giving us some insight regarding your mother.
That's very helpful.

And the fact that she liked to

dance, I think in No. 2, I agree with what has been
said.
And I certainly agree that I would not
enlarge it at all.

I think the youthfulness, the

flow, the way the eyes are looking upward at the
rising sun, I don't think I would mess with it other
than as was mentioned, some technical things regarding
the bird's beak and so forth and maybe a little
stylization there.

But I don't think that I would

touch her image at all.

I would agree.

And going on to another design -- No. 2
is going to get all my votes, but another design is
No. 6.

And I gravitated to that simply because I'm a

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calligrapher and I do calligraphy.
know, drew me in very quickly.

And that nib, you

Nibs are

interchangeable depending on size and so forth.
congratulations to the artist on this.

But

I think that

this was mentioned, and Dean mentioned and Dr. van
Alfen mentioned that it's just stylistic.
just something we haven't seen.

I mean it's

And I certainly

appreciate it from my side of the house and doing the
calligraphy.
So congratulations, and, Mr. Johnson, I
think you're certainly going to be proud of this
great

recognition.

Thank you, Madam Chair.

CHAIRWOMAN:
Salmon, please.

Thank you, Tom.

Robin

Robin, are you with us?

MS. SALMON:

Sorry.

CHAIRWOMAN:

Yes.

MS. SALMON:

Okay.

Can you hear me

now?

Salmon.

Now we can hear you.
This is Robin

No. 2 was my first choice.

I liked it for

all of the reasons that everyone has given.

In

addition to what I think of when -- the image that I
think of with Maya Angelou is a regal, larger-than-

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life image, and that's what comes across to me in this
particular design.

I would agree about softening the

beak, but I would not change anything else in this
particular design, whether enlarging the figure or
not.
There were several really inventive
designs here, and I was also attracted to No. 6.

I

think it was so creative, and it's something that
could perhaps be thought about in another context for
another coin design or even medal design, or certainly
this artist could be thought about for more designs,
because it's really different from any of the other
things that we've seen previously.
And I also like No. 7.

I agree with

Mike about the background not doing justice to the
origami bird, that it needs to really be showcased as
the main imagery there on the coin, but I think it's
beautiful.
And I agree with everyone about
retaining quarter dollar.
uphold,

We have a legacy to

and this is very important.

Madam Chair.

CHAIRWOMAN:

Thank you,

Thank you so much, Robin.

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Next, I would like to hear from Sam Gill, please.
MR. GILL:

Thank you, Madam Chair.

First of all, I'd like to thank Mr. Johnson, because
he gave us some insight into his mother that we
otherwise would not have had.

And No. 2 was my choice

anyway, but having his description of her, and it
seems like this design captures her essence.

And

whether or not you tinker with the bird's beak, that's
fine, but I think it's going to make a really, really
pretty coin, really pretty coin.

And I'm very, very

happy to support it.
I agree with the other comments about
No. 6.

It's just very, very creative.

as well.

I liked No. 1

I thought that was very interesting, the

Maya Angelou coming out of the bird's mouth.
And I give credit to all the designs,
but No. 2 is certainly going to get all my vote.
Thank you very much.
CHAIRWOMAN:
Sam.

Thank you so very much,

Dennis Tucker, please.
MR. TUCKER:

Thank you, Madam Chair.

And, Mr. Johnson, thank you so much for sharing your

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thoughts and your insight on your mother.
I am a writer and a book publisher, so
that's where I'm coming from when I review these
designs for her work.

And I apologize in advance.

I

think some of my observations are focused a bit more
on some of the darker themes in her work.

I allowed

two have Maya Angelou's creative works and one of her
artistic inspirations to guide and inform my review of
this portfolio.
Angelou published her poem Caged Bird
in 1983, about 15 years after her autobiography, I
Know Why the Caged Bird Sings.
disturbing poem.

And this is a

It's beautifully and masterfully

written, but it's painful to read or hear read out
loud.

She describes the stark difference between a

free bird that's careless and powerful and a caged
bird that's wounded and angry.

She says, "But a caged

bird stands on the grave of dreams, his shadow shouts
on a nightmare scream.

His wings are clipped and his

feet are tied, so he opens his throat to sing."
And I think it's important to note that
her earlier 1969 autobiography wasn't titled simply

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Why the Caged Bird Sings or The Caged Bird Sings.
title is I Know Why the Caged Bird Sings.

Its

I think

that's important, because Angelou's knowledge, her
knowing comes from her suffering, which is just like
the bird's suffering.
And, Mr. Johnson, you're probably used
to people analyzing your mother's work, but I have to
come to this from my own perspective, of course.
knowledge is personal.

It's painful.

Her

In her poem,

the free bird has no knowledge of slavery or
limitations symbolized by the cage.
us that the free bird sings.

She never tells

It's too busy soaring.

It's thinking of the fat earthworms it will eat, and
it's claiming the sky.

Meanwhile, the caged bird

sings its pain.
I understand that Angelou's metaphor
was inspired by Paul Laurence Dunbar's 1899 poem,
Sympathy.

Dunbar wrote, "I know why the caged bird

sings, ah me.

When his wing is bruised and his bosom

sore, when he beats his bars and he would be free.
is not a carol of joy or glee, but a prayer that he
sends from his heart's deep core, but a plea, that

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upward to heavens he flings.

I know why the caged

bird sings."
So to me, the designs that are too, for
lack of a better word, happy and hopeful -- I don't
know how to put this, but they appear to me to be
sugarcoated.

And I think that the metaphor of the

caged bird is confused by showing an image of a free
bird.

Then the message is lost.

It misses the point.

If we're going to use caged bird metaphor, we have to
show a caged bird, or the metaphor loses its power.
CHAIRWOMAN:

Dennis, you've got about a

MR. TUCKER:

Thank you.

minute.

Madame Chair.

Thank you,

The caged bird does sing, and Angelou

calls it "a fearful trill."

The bird is angry and

crippled, and its song is loud enough to be heard far
away.

The bird in her verse one is singing Maya

Angelou's name.

As a professional artist, this was a

name that she chose for herself.
chose Angelou.

She chose Maya.

She

Her autobiographical work is about

claiming your own identity, so the imagery of the bird
singing her name is brilliantly appropriate for this

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coin, in my opinion.
No. 1.

My strongest vote will go for

I understand, though, what you're saying about

No. 2, and I think it's a lovely design as well.
Thank you for your time.
CHAIRWOMAN:
much, Dennis.

Thank you.

Thank you so

Lawrence Brown, please.
MS. STAFFORD:
CHAIRWOMAN:

Madam Chair?

Yes?

MS. STAFFORD:

I'm so sorry to

interrupt.
CHAIRWOMAN:
MS. STAFFORD:
Mr. Johnson's hand up.

That's okay.
I thought I saw

I didn't know if he wanted to

share something else.
CHAIRWOMAN:

Oh, thank you for telling

me that, because all I can see is just a line of
people across the top, and I don't see Mr. Johnson.
Mr. Johnson, would you like to say something else?
MR. JOHNSON:

Yes.

First off, I really

appreciated the comments of the previous person who
just spoke.

It is true that my mother's work

reflected some of the darker elements of being human.

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But the truth is, her whole perspective
was hope.

Her whole perspective about how we should

address ourselves to the difficulties that this nation
faces is with hope.

And she felt we were all children

of God and that we could all be reclaimed and saved.
So I think -- well, I appreciate -- and let me say,
first off, I would like whoever can convey my
gratitude for what these artists have done.

I have to

say I didn't understand the last one about the origami
plane, but the other ones, I really appreciated.

But

I think No. 2 reflects my mother's spirit more than
anything else.

And Caged Bird, true, was her great

book, but that is only one segment of her life.
life was about activism and about creativity.

Her
And all

of that initiated from the belief that there was hope
for every challenge that we meet.
CHAIRWOMAN:
Mr. Johnson.

Thank you so much,

And I would like to go back to a

question you made earlier when you spoke.

You said

that you liked No. 2 very much, but you didn't think
that it really kind of looked like your mother.
you like to enlarge on that comment at all?

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MR. JOHNSON:

Well, I just thought it

was a close resemblance, but it didn't really capture
her facial features.
important, I think.

But that's not what's so
This is metaphorically put here.

CHAIRWOMAN:
MR. JOHNSON:

All right.
And so I don't think it

needs to capture exactly, but people will understand
when they see this that this is Maya Angelou and this
is her approach to life, with the upward hand toward
the sky, because she believed in God, and she felt
that -CHAIRWOMAN:

Okay.

It's such a

welcoming gesture.
MR. JOHNSON:
CHAIRWOMAN:

Yes.
May I ask if you would be

comfortable with -- it seems that we are all in
agreement with you.

There are other members that, of

course, have yet to speak, but would you be
comfortable if we made a general motion at the end of
our discussion that your mother's face can be adjusted
slightly so that it looks more like your mother, or
are you okay with what we have right now?

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MR. JOHNSON:

I'm okay.

I think it's

metaphorical.
CHAIRWOMAN:

Okay.

MR. JOHNSON:
CHAIRWOMAN:

And I am grateful for it.
Okay.

MR. JOHNSON:

All right.

I think this represents

her attitude more than anything else, and I think
that's -CHAIRWOMAN:

Right.

MR. JOHNSON:
reflect her actual face.

-- more important than it

Thank you.

CHAIRWOMAN:

Okay.

Thank you so much

for giving us that extra insight.
All right.

Dr. Lawrence Brown?

Is

that where I left off?
DR. BROWN:
Lawrence Brown.

Good afternoon.

And, Mr. Johnson,

This is

I'd like to also

offer my thanks for the fact that you are here to
share with us your thoughts.
I'm a coin collector.
represent the interest of the public.

I'm called to
My colleagues

are sculptors and engravers and have a lot more

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artistic background in their training.

I'm here from

the standpoint of saying that how will this land in
those who are going to have it in their pocket as a
way of, in fact, spending for some commodities.
And I must say that my colleague, Dean,
his comments that he made with respect to the
significance of having an obverse, in fact, designed
by a woman and having a reverse that has such a
fantastic person that made American history known
quite well from a distance immediately.

You shared

with us a lot that many of us have come to appreciate
in this short period of time that you have been able
to grace us with your presence, and I'm fully
appreciative of that.
As my colleagues, I also agree that
these are wonderful designs.
No. 7.

I'm not so sure about

It may be a bit too subtle for the public to

be able to appreciate what that means.

I don't think

that the public will have any difficulty in
appreciation Design No. 2.

And I think that the way

it is presented and publicized by the mint will go a
long way, and in that respect, I'm hoping the mint

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will, in fact, have a cultivation of other
relationships to continue to not only this design but
all the designs in the series.
It seems to me that this has provided
us an opportunity to think about one of your mother's
quotes that I have come to learn and really
appreciate.

And that quote says, "I've learned that

people will forget what you have said.
forget what you did.

People will

But people will never forget how

you made them feel."
Sir, you made us feel wonderful, and
this design only takes it home.
Chair.

Thank you, Madam

Lawrence Brown, signing off.
CHAIRWOMAN:
Scarinci, please.

That's great.

Donald

Donald?

MR. SCARINCI:

So I think, first of

all, you know, Dennis, you always blow me away with
your analysis and the depth of your commentary.
absolutely blew me away just now.

You

You know, you're so

right, you know, but I think that Design 2 -- I think
in the end, we really -- you know, with this series,
and I'll say this -- in this series, you know, we

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really, you know, need to have some unifying theme to
it; right?

This is the beginning of a series.

And I

think, you know, having the image of a person on the
reverse in some way creatively depicted is the
unifying theme, you know.

You know, and I'm an

advocate, I'm always an advocate of -- and I don't
want to confuse the artists, so I am definitely going
to be giving a merit award to No. 1, to No. 6, and to
No. 7.

Those are absolutely brilliant designs, and in

any other series or any other context I'd be talking
about those.
Just to be consistent to the artist,
though, you know, I think we are all schizophrenic;
right?

But I think with this particular series, you

know, as we go through this in the states, you know,
what we're going to want to do is come up with images
of the person in some way creatively.
may not be a realistic image.
Could be.

And it may or

Doesn't have to be.

But I think an image of the person or some

depiction of the person.

But, you know, I think that

would unify the series in this case.
You know, and so while No. 2, and where

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Dennis was going with No. 2, is spot on.
it.

I just loved

You know, but I think the license, the creative

license for No. 2, you know, because what Dennis was
saying, you know, much more scholarly than the mass
audience would really I think absorb or understand.
And I think the depiction in No. 2 and I think the
design in No. 2 is just delightful.

And I think we

just, you know, call it a day on artistic license for
No. 2.

You know, it's certainly a more sure design

than No. 4, and I think those are the two that I'm
choosing.

So it's No. 2 and No. 4.

And so No. 2 is

the one to go with, you know, with honorable mention
for the other.
And I think I'll be looking for images
of the people in future designs, and probably I'll be
discounting what I would normally go after, you know,
which is the abstraction and things that create
emotion and images that create emotion.

And I

normally look for that -- for that in this particular
sense.

That's it.

I'm done.

CHAIRWOMAN:

Thank you, Donald.

Bernstein, please.

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MR. BERNSTEIN:

This is Art Bernstein.

My first knowledge of Maya Angelou is when she spoke
at President Clinton's inauguration.

And my first

pass in looking at the designs, I was attracted to
Design No. 4, because that was how I remembered her
appearing.

That looked like Maya Angelou to me.

But

I have to say that after hearing Mr. Johnson speak, I
give so much weight to his comments that I'll be
voting for Design No. 2.
CHAIRWOMAN:
much, Art.

All right.

I guess it's down to me.

really practical here.

Thank you so

I'm going to be

I'm going to give my vote

obviously to No. 2, because I think it's really,
really beautiful.

Again, I want to give merits to

what my colleagues have mentioned, No. 1 and No. 6,
because I find those designs interesting.
But as the person who gets to respond
to all the letters in the CCAC mailbox when people
want to complain about something, I just want to ask a
question about No. 2, and tell me if it bothers you or
if I'm the only person to think about it.
Angelou is in a dress.

Maya

Should there be straps on this

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dress to prevent somebody saying, "There she was,
wrapped in a towel"?
It's just a question.
design is beautiful as it is.

I think the

I'm just anticipating

some negative feedback about that, and I wanted to
know what my colleagues and Mr. Johnson had to say
about that.
MR. JOHNSON:
CHAIRWOMAN:

May I respond?
Sure, Mr. Johnson, please.

It's your mother.
MR. JOHNSON:

I have to tell you, I've

never seen my mother wrapped in a towel.
CHAIRWOMAN:
MR. JOHNSON:

Okay.
But I have seen her in a

number of strapless, long gowns -CHAIRWOMAN:
MR. JOHNSON:
CHAIRWOMAN:
all I wanted to know.

Okay.

You got it, then.
-- like this.
Okay.

All right.

That's

So I'd like to ask the

mint or Joe or Ron and April and everybody else, is
there any other comments or discussions that we need
to have about the reverse for Maya Angelou?

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Mr. Johnson, thank you so much for
being here.

This is great.
MR. JOHNSON:

honor.

Thank you so much for the

I am very grateful, and I appreciated what all

of the committee members said.
giving this consideration.

And thank you for

I really appreciate it.

And I'm sure that her descendants will appreciate it
as well.
CHAIRWOMAN:

Thank you.

All right.

So

no comments from anybody at the mint?
MR. HARRIGAL:

Mary, this is Ron, Ron

Harrigal.
CHAIRWOMAN:
MR. HARRIGAL:

Hi, Ron.
Hi.

Now, we talked

about the resemblance of Maya on the reverse there.
That coin is less than an inch across.

And, you know,

when you get down to scale on that, it's going to be
tough to pull off any kind of details other than maybe
some hair details and some outline of the face.

So I

would not be too concerned about the resemblance of
the drawing.

It's going to be more symbolic when you

actually get down --

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All right.

CHAIRWOMAN:
MR. HARRIGAL:

-- to coin size.

That's

all.
CHAIRWOMAN:

Okay.

I was just trying

to adjust what Mr. Johnson had mentioned when he was
first introduced to us.

But thank you for clarifying

that.
All right, committee members.

E-mail

or text or use whatever app of your choice to send the
scores to Greg Weinman.

It is now 2:02.

Greg, how

long do you think it'll take you to do this?
MR. WEINMAN:

I think I need 15 minutes

if everybody is efficient.
CHAIRWOMAN:

Okay.

So it will be 2:18.

I look forward to seeing you back.
(Off the record)
CHAIRWOMAN:

-- and would you please

read out the scores?
MR. WEINMAN:

Yes.

Okay.

Design No. 1

received 13 out of a possible 33 points.

Design No. 2

received 30 out of a possible 33 points and is the
highest-scoring design.

Design No. 3 received 3, 4

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received 6, Design 5 received 3 points, Design 6
received 14 points, and Design 7 received 6 points.
CHAIRWOMAN:
very, very much.
motion?

All right.

Thank you

So did somebody want to make a

Lawrence, was that you?
DR. BROWN:

Lawrence Brown.

Yes, ma'am.

This is

Even though it may not be necessary,

I think it's particularly symbolic that if we can have
a motion to unanimously select Design No. 2 for the
reverse of the first American Women's Quarter Design
Quarter Series.
MR. TUCKER:

This is Dennis.

CHAIRWOMAN:

All in favor of

I would

second that.

Dr. Brown's motion, say "Aye."
(Whereupon, multiple unidentified
participants responded affirmatively.)
CHAIRWOMAN:
passes.

Any opposed?

Motion

Very good.
UNIDENTIFIED SPEAKER:
CHAIRWOMAN:

Okay.

Thank you.

All right.

Well,

thank you very much for everybody that attended on

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behalf of Maya Angelou's family, and especially
Mr. Johnson.

And I'm sure that you're going to look

forward to an absolutely beautiful quarter when we're
finished.
Okay.
--

Let's go to April and

MS. STAFFORD:

Chair?

CHAIRWOMAN:

sorry, what?

Madam
I'm

MS. STAFFORD:

believe
Sorry.
Mr. Johnson was
tryingIto
respond.

I'm not sure your

mic was on, sir.
CHAIRWOMAN:
right, Mr. Johnson.

Oh, I can't see him.

All

Sorry.

MR. JOHNSON:

I wanted to say thank you

very much.
CHAIRWOMAN:
MR. JOHNSON:
this.

You're welcome.
I'm very grateful for

This is a wonderful honor, and this is -CHAIRWOMAN:
MR. JOHNSON:

We're making history.
This is a changing point,

and I am very grateful that you folks are brave enough
to make it.

Thank you so much.
CHAIRWOMAN:

Thank you to your mother.

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MS. STAFFORD:

Thank you, sir.

All

righty.
CHAIRWOMAN:

Okay.

MS. STAFFORD:

Thank you.

Moving on to

the candidate designs up for consideration to honor
Dr. Sally Ride.
In 1983, NASA astronaut, Dr. Sally
Ride, became the first American woman to fly in space.
Therefore, Dr. Ride served as -- thereafter, excuse
me, Dr. Ride served as an important voice for NASA's
direction through her leadership of the NASA Task
Force that issued a report to the administrator titled
Leadership and America's Future in Space, informally
known as The Ride Report.

As well as her service on

the Rogers Commission following the 1986 Space Shuttle
Challenger tragedy and her service on the Columbia
Accident Investigation Board in 2003.
These designs have been reviewed by
Dr. Ride's partner, Tam O'Shaughnessy, and her
preference will be indicated in the information that
follows about the candidate designs.

As with the

previous portfolio, experts at the Smithsonian prefer

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design that include images of Dr. Ride.
So we will start with Design No. 1.
This design depicts Dr. Sally Ride next to a window on
the space shuttle, inspired by her quote, "But when I
wasn't working, I was usually at a window looking down
at Earth."

The placement of e pluribus unum is

intentionally positioned over the earth next to
America, indicating that out of all women in the
United States, Dr. Ride was the first into space.

The

additional inscription is "Dr. Sally Ride."

This is

the preferred design of Dr. Ride's partner.

If

possible, she would like to see the addition of text
such as "physicist," "astronaut," "educator" to
highlight Dr. Ride's work in addition to being the
first American woman in space.

This is also the

preferred design of experts at the Smithsonian and the
recommendation by the U.S. Commission of Fine Arts,
and they included a suggestion regarding the potential
use of a NASA-specific patch.
Moving on to Designs 2 and 3, these
designs depict Dr. Sally Ride in zero gravity.
symbolically hands the galaxy to the viewer,

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representing her work in education and as an
inspiration to future scientists.
inscription is "Dr. Sally Ride."

The additional
Design 3 shown here

also shows features the additional inscription, "First
American woman in space."
Designs 4 and 5 depict the first
shuttle pallet satellite being retrieved of the space
shuttle Challenger's robotic arm during NASA's seventh
space shuttle mission in June 1983.
Ride's first spaceflight.

This is Dr. Sally

Design 5, shown here, also

depicts Space Shuttle Challenger in the background.
The additional inscriptions are "astronaut, educator,
author," and "Dr. Sally Ride."
Madam Chair, that concludes the
candidate designs.
CHAIRWOMAN:

Okay.

Thank you so much.

Regarding Design No. 1, I would like to ask Joe Menna
and Ron Harrigal if they feel that since this seems to
be the design that is most favored so far for
Dr. Sally Ride if there is even room on here to put
"physicist, astronaut, educator" without messing up
the design.

Joe, what do you think?

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This is Ron.

MR. HARRIGAL:
be a tough challenge, I think.
to Joe on that.

That would

Artistically I'd defer

But, yes, just the amount of real

estate that's already taken up by the inscriptions
would make that quite a difficult task, as far as I'm
concerned.

opinion.

percent.

CHAIRWOMAN:

Thank you for your

MR. MENNA:

Oh, I agree a hundred

Joe?

You really can't do it, honestly, without

ruining the coin.
CHAIRWOMAN:

Okay.

Thanks so much.

that to me would be a technical question. I

So

think we

could probably change the patch to whatever, but
that's a friendly motion.
Let's start with Dr. Dean Kotlowski,
please.
DR. KOTLOWSKI:
Chairperson.

Thank you, Madam

This is Dean Kotlowski.

I'm going to

talk a little bit at the end of my comments more
about

this series.

LGBTQ person

Sally Ride may be the first

to be honored on a U.S. coin.

be corrected on

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that.

So we have another major breakthrough here.
When I looked at the designs, I was at

first attracted to Nos. 2 and 3 because I loved the
weightlessness.
ways.

These were fun designs in a lot of

Again, tremendously drawn to them.

As I looked

at them more and more, though -- and I also loved the
little space shuttle there.

As I was drawn to them,

actually on Designs 2 and 3, there's a tiny space
shuttle that has been integrated, and I thought that
was wonderful.
But as I thought about them, I think
that this would work much better on a half dollar or a
dollar or a Congressional Gold Medal, and I don't
believe she's been awarded a Congressional Gold Medal,
so something to think about in the future.

Some

legislation, I believe, was introduced a few years
ago.

And I just think people would struggle with 2

and 3 to look at the coin and to see her just in terms
of the size of the quarter.
So No. 1 was the one that I gravitated
to very much.

I think it's a good design.

good, safe design.

It's a

It's a nice design, the portrait.

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I'm going to become more partial to portraits, but I'm
not going to rule out other types of designs on these
coins.
And, you know, with Nos. 4 and 5,
again, terrific designs.

We've seen a lot of

spacecraft designs, and these two I liked.
they were some of the better space designs.

I think
I

especially like No. 5.
And this is going to be I think my last
mini-professorial lecture, at least of the day.

But I

want to talk a little bit just, again, about the
series and the de facto pairing of George Washington
with a prominent American woman.

You know, for most

of his life, it's been -- and the iconography of
Washington, it's been George and Martha.

And to

reveal my philatelist tendencies, she becomes the
first American woman to appear on a stamp in 1902, and
it's because of him.

And the pair of them are in two

more disseminative sets in like 1922 and 1938.
So it's George and Martha.

She is the

Matriarch of the Country, in a way, just as he is the
Father of the Country.

She's the Mother of the

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Country.

He's the Father of the Country.

And playing

on that Father of the Country theme, Richard Norton
Smith a number of years ago wrote a biography of
George Washington called Patriarch.
think there's a nice poignancy here.

And, again, I
We historians

like complexity, irony, contradictions.
So all of the women who are going to be
depicted on these coins, I would predict, have had to
struggle in one form or another in varying degrees
with patriarchy.

And just to see the two of them come

together, I mean I can't be any more enthusiastic
about this series, as I've been expressing.
Congratulations to Congress, to the mint, and to the
country going forward with this project.
CHAIRWOMAN:
putting that in context.
MR. MORAN:

Thank you.

Thank you, Dean, for
Michael Moran.
Thank you, Mary.

I'm going

to go with the recommendation of the family here,
No. 1.

I have to admit that I wasn't overly enthused

by this portfolio.
around it.

I had troubles getting my hands

But I'm going to stay with No. 1.

you.

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CHAIRWOMAN:

Thank you, Michael.

Peter

van Alfen.
MR. VAN ALFEN:
Chair.

Thank you, Madame

I have to agree with Mike.

I wasn't overly

enthused by a lot of the designs in this portfolio.
I'm happy to vote for No. 1.

I do have some

questions, though about how the hair will be modeled.
You know, this rendering here has obviously a degree
of fading, which, you know, makes it at least in the
two-dimensional rendering, you know, rather
attractive, but it does raise some questions about how
to model that hair to come across.

I think, you know,

Joe and Ron and the team at the mint did a great job
with the Christa McAuliffe rendering, you know, the
hair there, and perhaps, you know, I would imagine
something similar will be done with the hair here.
But, you know, it's one of the concerns that I have.
But I do have to say, I rather enjoy
the symbolism of the e pluribus unum, you know, and
what this represents, you know, in a context of this
coin, so I'm very happy to have had that explained.
But that's what I have to say.

Thank you.

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CHAIRWOMAN:

Thanks, Peter.

Tom Uram,

please.
MR. URAM:

Thank you, Madam Chair.

I

agree also with -- as you can hear, I'm getting help.
I agree with No. 1 as well, and I also think that
No. 4 and 5 just kind of looked a little too much
like

the Innovation dollar with the Hubble

Telescope.

Even

though it isn't, it just came

across to me that way.
one is to go with No. 1.

So I think the appropriate
Thank you, Madam Chair.

CHAIRWOMAN:

Thanks, Tom.

MS. SALMON:

-- Salmon.

Robin

Salmon.

preferred No. 1.

I, too,

I thought that while 2 and 3 were

most inventive that they wouldn't come across well in
the space of the coin, the size of the coin.

And it

was almost a little too playful also for such an
important subject.
Four and five reminded me also of the
Hubble Telescope, even though that's not what is being
depicted.

But it still seems like something that's

already been done.

And I do think that it's really

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important when honoring the woman to have the woman on
the coin, and for that reason, I would go with No. 1.
Thank you.
CHAIRWOMAN:
Robin.

Thank you very much,

Sam Gill.
MR. GILL:

Sam Gill.

Thank you, Mary.

This is

I'm going to put my votes on No. 1 for a

couple of reasons.

The first reason is that her

accomplishment to be the first woman to go into space
for the United States was an enormous, enormous
accomplishment.

And I think just having her image on

that coin is a really important feature.

And she

looks hopeful here, and she's looking to the future.
And I feel that this will make a very, very lovely
coin, and I'm happy to support it.
Two and three were a little too
fanciful for me, and I agree that four and five
looked -- they could be just any space mission.
No. 1 will get my vote.

So

Thank you, Mary.

CHAIRWOMAN:

Thank you so much, Sam.

Lawrence Brown.
DR. BROWN:

Good afternoon.

This is

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Lawrence Brown.
Design 1.

I, too, am gravitating towards

I must confess, unlike my colleagues, I

like to have a little fun, so I like the playfulness
of 2 and 3, I must confess.

But I do also believe

that there's some value that when the public picks up
this quarter and you have a child asking the question,
"Well, what does this mean," it's important to be able
to give that lesson right then and there.

It's

important so it not be so subtle as in design 4 and 5.
So I think that this Design 1 makes the
most sense, and particularly the fact that looking out
of the window, you can see the plant earth.

I think

this represents a wonderful educational opportunity
and for a parent to talk to their child about what
this means in their coinage.

So to me, Madam Chair,

again, I vote for Design 1.
Chairwoman:

Thank you, Dr. Brown.

Donald Scarinci.
MR. SCARINCI:

Yes.

No. 1, it is.

There's really no other choice.
CHAIRWOMAN:

Okay.

Turks and Caicos

don't really have a good volume control right now, so

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you're just going to go with No. 1; right?
Thank you, Donald.

Arthur Bernstein.

MR. BERNSTEIN:
Bernstein.

Okay.

Hi, this is Art

I also gravitate towards No. 1.

I have

two points of clarification and then one philosophical
issue to raise.
Clarification No. 1 would be, I
understand she is looking out a window, but as I look
at this design on the paper that I printed out,
there's a shadow on her right side of her face, and
I'm not sure what that's trying to portray.
Unfortunately, it looks a little bit like a
five o'clock shadow to me, and it wasn't clear what
the artist is doing with that darkness.
Second point of clarification was
addressed briefly, and that was the patch on her
chest.

I think it's important that it be a real -- I

don't know what that emblem is, but I think it's
important that it be a real NASA emblem, because we
want to identify her as an astronaut.

Those are my

two points of clarification.
My philosophical issue, and I recognize

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that we have quite a few doctors on this committee,
and I mean no offense, but I wanted to raise the issue
of whether we should be using titles as we go about
honoring these women on the next set of quarters.

I

found it distracting, because it seems to me the
primary thing we're honoring Dr. Ride for in this coin
is her being the first woman in space, not that she
has a PhD in physics.
And I wonder as we go forward with
other women to be recognized if we're going to get
caught up in what are their titles.
ambassador?

Is it an

Is it a registered nurse?

I just find

using the word "doctor" to be distracting, because I'm
not clear whether she's a medical doctor, whether
she's a physicist.
name.

And I would just use the person's

But I'm in support of Design No. 1.
CHAIRWOMAN:

Art.

All right.

Thank you,

Dennis Tucker.
MR. TUCKER:

Thank you, Madame Chair.

This was a tough portfolio, because I understand
Ms. O'Shaughnessy's desire to get more explanation
into that design on No. 1.

It's a nice design that we

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would typically see for a silver dollar in a
commemorative program or possibly in a Congressional
Gold Medal where we've got a large canvas to work
with.
I'm a little bit concerned at the, what
is it, 24-millimeter size that we have with a quarter
dollar, but I think it would be fine at that diameter.
Certainly adding more text there would not work, as
Joe confirmed.
No. 1 is traditional.
this kind of portraiture.
necessarily.

I mean we see

That's not a bad thing

It does the job.

It's inspiring.

She's

looking up in the heavens.
Nos. 2 and 3, I struggled with these a
bit.

I wrestled with these.

playfulness.

I really liked the

I think that these would stand out in

your pocket change.

They're very different, certainly

very different from No. 1, which is a traditional use
of portraiture in American coinage.

I don't like the

use of twenty five cents with the alphanumeric
spelling, but we can talk about that later.

No. 3,

you know, it spells out what she's done here, the

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first American woman in space.
And then 4 and 5, what I find appealing
about those is that even though the designs are not as
innovative because we've seen similar scenes and
coinage recently, they do spell out her different
roles as astronaut, educator, and author.
I would concur with the recommendations
of Ms. O'Shaughnessy, the Smithsonian, and the CFA
with No. 1, but I will give some merit votes to Nos. 2
and 3 as well for their creativity.

Thank you, Madame

Chair.
CHAIRWOMAN:

Okay.

And I think it's my turn now.
my votes toward No. 1.

Thank you, Dennis.

I, too, am putting all

I like that sort of long gaze

into the future that even though she's there, she's
thinking about maybe even the next time she gets to go
up.
I want the patch to be the NASA patch
that was correct at the time she was flying for that.
I don't want a modern NASA patch.
NASA patch for that.

I want the correct

And it has our recommended

quarter dollar, or preferred, I should say, quarter

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dollar.

I like where the e pluribus unum is.
The whimsical ones, I think, were just

too cute.

It didn't really show anything.

tell anything.

It didn't

And for 4 and 5, engineering geeks

will probably love them, but I just think that we've
seen too much sort of space itself right now so I'm
going to give all my votes to No. 1.
And in regards to Sally Ride or
Dr. Sally Ride, she earned the doctor, so I prefer
that.
So does mint have any -- oh, I'm sorry.
Dennis, you wanted to say something?
MR. TUCKER:
to bring up a couple points.

Yes.

Thank you.

I wanted

One, just to quickly get

this into the public record, I wanted to mention the
concept of merit voting or merit rankings.

We talk

about it because we know what it is, but members of
the public might be reading this transcript and won't
necessarily know what we're talking about.
So the merit ranking is where we give
feedback to the mint's artists and indicate that we
feel that a particular design has some special merit.

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Whether we vote for it or not or whether it ends up
being our recommendation to the secretary is
irrelevant, but that's for the individual member to
make a merit ranking.

And then I believe that

feedback is given to the artists to help them in their
future work.
And then the second thing I wanted to
talk about was the denomination and how the
denomination is indicated on this coin series.

This

is the first modern coin series that has no
established designed template, which is wonderful.
You know, it's a refreshing change.
to free up our artists.

It's really going

They've almost got a whole

inch to work with on this canvass, and we're not
giving them rules like the state quarters had in the
America the Beautiful quarters, where you have to
place certain inscriptions and legends and the date
and things like that.
But I would recommend one design rule
just for the sake of -- continuities going back at
least to 1892, and that's that we phrase the
denomination consistently as quarter dollar throughout

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the series.

Quarter dollars were authorized by

Congress in 1792.

They were first minted in 1796.

And the first coin design among the quarters actually
didn't include the denomination at all.

In 1804, it

was added as 25, space, capital C, period, and that
lasted until 1838, when the liberty seated design at
the abbreviation quar, period, doll, D-O-L, period.
And then in 1892 and since 1892, we've had it spelled
out as quarter dollar.

And I think that we need to be

consistent.
If we just make a motion, I think, to
make this an official recommendation to the mint's
artists, which would give them the guidance to
consistently use the full name of the denomination,
quarter dollar.

That way we won't end up with

different spellings or abbreviations throughout the
series and also will have a stronger connection to the
historical usage in American numismatics.
CHAIRWOMAN:

All right.

Dennis, make

that motion and then ask for a second.
DR. KOTLOWSKI:
CHAIRWOMAN:

I second it, Mary.

Okay.

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DR. KOTLOWSKI:
CHAIRWOMAN:

Dean Kotlowski.

All in favor of Dennis'

motion and with Dean's second say "Aye."
(Whereupon, multiple unidentified
participants responded affirmatively.)
CHAIRWOMAN:
unanimously.

Opposed?

Motion passes

Do we have any additional comments from

the mint staff?
MR. VAN ALFEN:
Peter van Alfen.

Madame Chair, this is

I do have a comment about the patch,

if I could.
CHAIRWOMAN:

Sure.

MR. VAN ALFEN:

So the patch for STS-7,

which was the Challenger Space Shuttle mission that
Sally Reed [sic] first flew on, the patch for that
mission showed a view of the Challenger head on with
this five-prong symbol as -- of that patch.
So I believe that that five-prong
symbol represents the five crewmembers, and the one
with the cross represents Sally as the symbol, you
know, for a female.

So I believe that this does

accurately represent the patch.

It's not the complete

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patch, which I think would not show up well on the
quarter.

But this element of the patch is accurate

for STS-7, and I think, you know, at scale, you know,
it might be visible.

So I would recommend that we

just leave the patch as is since it does seem to be
representative of STS-7, which was her first space
shuttle flight.
All right, Peter.

CHAIRWOMAN:

you for looking that up for us.
MR. MORAN:

Any other comments?

Mary, this is Mike Moran.

CHAIRWOMAN:
MR. MORAN:

Thank

Yes, Mike.
I'm going to have to

support Art and his point about Dr. Sally Ride.

I'm

going to cross you on this.
CHAIRWOMAN:
MR. MORAN:

Mm-hmm.
Yes, she earned it, but she

also earned the part on the quarter by her
accomplishments.

I think that Art very correctly said

we're going down a path if we start to use these
titles that we might regret later.

I don't quibble

with the fact that she's a doctor, but I think we set
a precedence here that the mint, not this committee,

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but the mint needs to consider and make a conscious
decision either to include it or exclude it, with the
idea going forward that we exclude or include titles.
CHAIRWOMAN:

Thank you, Mike.

Dr. Brown, you wanted to say something?
DR. BROWN:
want to.

Yes, ma'am, I certainly

This is Lawrence Brown, and I'd like to

share with my colleagues as one of those persons who
is a physician that the MD is probably the easiest
doctorate to get.

A PhD is much more difficult.

And

I'm not sure to what extent that her PhD set the path
for her to be what she is doing.
So I think that if we do not give
people what they've earned, then we are missing out on
telling the story.

So I think that we want to tell

the story, unless there is some historian that can
tell me that her PhD in physics had nothing to do with
her being that person who she is and being able to be
the first woman in space.
CHAIRWOMAN:
much.

Dr. Brown, thank you very

Dean Kotlowski, did you want to say something?
DR. KOTLOWSKI:

I sure did.

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CHAIRWOMAN:

All right.

DR. KOTLOWSKI:
the doctor.

Go for it.

I'm in favor of keeping

Dr. Brown, thank you for saying that the

PhD is harder to get than the MD.
disagree with you.

I respectfully

But this is a mutual admiration

society that we're developing right here around
doctorate.
Her partner wanted, Ms. O'Shaughnessy
wanted to add some additional text, and we don't have
the room for it.

And I think having doctor there, it

helps in terms of her biography.

People will see the

doctor, and, you know, kids will ask questions.

"What

was she a" -- you can look it up.
And there is something, we've been
having this big -- there's something about Martin
Luther King Jr.

This is about 30 years or so ago,

40 years ago whether we should call him Reverend
Martin Luther King Jr. or Dr. Martin Luther King Jr.
For an African-American man when he was growing up to
get

doctorate, it really meant something and was

really special.
I don't think that, you know, being a

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doctor, it's the same thing as being an ambassador or
a president.

I mean when we do a coin with the

president, we don't put President Bill Clinton on it
or something.

We don't have to do this with titles.

This is something that is I think very unique and very
special.

And Jill Biden, we've seen the debate,

Dr. Jill Biden.
And, you know, I am old enough to
remember when Kissinger and Brzezinski had interviews,
and they were honorifically referred to by the
interviewer as Dr. Kissinger or Dr. Brzezinski.
I don't think this is something that is
going to set some sort of precedent here with every
person who is a doctor, that this has to be included.
I agree with Dr. Brown.

I think it's part of her

personal story, and it's important.
MR. WEINMAN:

Madame Chair?

UNIDENTIFIED SPEAKER:

I'd like to say

something.
MR. WEINMAN:
CHAIRWOMAN:
MR. WEINMAN:

Madame Chair?
Yes, Greg.
Just a real quick

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point -Yes, Greg.

CHAIRWOMAN:
MR. WEINMAN:

-- of clarification, only

because it's come up three times.

Dr. Sally Ride's

partner is Dr. Tam O'Shaughnessy, not Miss.
CHAIRWOMAN:
clarifying that, Greg.

Thank you so much for

Let's not forget that these

coins are going to be a learning tool for all the
young women that want to get in STEM programs and get
their own doctorates.
doctor on there.

I think that we need to keep

I think it would be something

against her memory to take that incredible
accomplishment away from her.

So if anybody wants to

make a motion to take the title off the coin, make it
now, and we'll have a vote.
MR. MORAN:

I can't hear you.

Nine to two doesn’t work.

We're not going to do that.
CHAIRWOMAN:

No, it doesn't, Mike.

No,

it doesn't.

to Greg.

All right.

Let's please get our scores

And it is 2:43.

By five minutes to 3:00, we

will have our scores, and we can wrap this up.

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MR. WEINMAN:
CHAIRWOMAN:

Sounds good.
Thank you.

MR. WEINMAN:

Send them at will.

(Off the record)
MR. WEINMAN:

Okay.

Design No. 1

received 31 of 33 possible points, making it the high
-- Design 2 received 6 points, Design 3 received 5
points, Design 4 received 2 points, and Design 5
received 2 points is all.
CHAIRWOMAN:
much.

All right.

Thank you very

So do we have any additional comments?

I've

got some stuff in the chat that needs to be brought
up.

I know that Joe Menna, you wanted to say

something about the shading?
MR. MENNA:
address any concerns.

Yeah, sure.

Just to

Like the way the hair is

shaded, I don't call that shading.

It's more like

when the artists color in instead of shade, and we
know how to interpret that.

We're still working on

trying to, you know, get the newer artists to work
away from that style of depicting form.

But the marks

on the side of the face, they're appropriate.

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shows you where the plane break is on the face, so
we're getting a really good reading of the form of the
face via the shading.
So that's all.

I just wanted to

explain what those marks were and how we would
interpret them.

We'll handle it.
CHAIRWOMAN:

Okay.

No problem.
Great.

Thanks.

So

anybody have any other comments before I mention
something that's in the chat?
Okay.

So, Jennifer and I were talking

about the use of the word "doctor."

Dr. Sally Ride

was addressed that way I think her entire career.
Maya Angelou was also addressed as doctor.

And she

had a lifetime professorship at -- oh, shoot.
missed it.
Carolina.

But

I just

At a college in Winston-Salem, North
And she was the Professor of American

Studies there.
And it was sort of a lifetime tenure.
But I think that even though some writings address her
as doctor, she was so much more than that.
dancer.

She was a playwright.

She was a

She was a poet.

was a writer.

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So the question is, we need to come up
with something that is accurate and is respectful for
all of the women that we are going to put on the
reverses of these coins.

So I'd like to open that up

to discussion, but I do think Dr. Sally Ride needs to
stay Dr. Sally Ride.

That's my opinion.

DR. VAN ALFEN:
Alfen.

This is Peter van

Can I just ask, is there any precedent for

putting titles on coins?
CHAIRWOMAN:

That's what we're trying

to figure out, before we start something that we get
in the middle of.

She was the lifetime Reynolds

Professorship of American Studies at the Wake Forest
University in Winston-Salem, North Carolina.

She was

one of the few full-time African-American professors.
DR. VAN ALFEN:
CHAIRWOMAN:

Right.

But I think --

But it also said following

that, "From that point on, she considered herself,
quote, 'a teacher who writes.'"
DR. VAN ALFEN:
MR. MORAN:

All right.

This is Mike Moran who

probably should take the blame for stirring this up

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along with Art.

The way I worded my comment was very

careful, that we should leave it up to the mint, and I
think that's where it needs to be.

I don't think we

can solve it here in a round-robin here this
afternoon.

I think the mint can take a look at

precedence and decide what they want to do on it.
CHAIRWOMAN:

Well, along with that,

Mike, not so much maybe precedence, but as the mint
staff works with the liaisons for each woman that's
chosen for this, that's, you know, a box that can be
checked off and determined if that is their usual
title.

April?
MS. STAFFORD:

Madame Chair?

Yes, I

just wanted to note that these are part of the
discussions that we have with the families as well as,
you know, representatives who are responsible for
ensuring that we accurately and appropriately depict
honorees on coins and medals.
And I think it's fitting that this
entire series is meant to honor the accomplishments
and contributions of these women.

And so, of course,

it'll be within that context that such conversations

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will occur.

And I appreciate Mr. Moran's comments,

that, you know, sometimes it's not an either/or.
There's a lot of factors that go into it, so thank you
for that.
CHAIRWOMAN:

Well, thank you.

I can't

imagine that you all being so thorough wouldn't be
asking those questions, so thank you very much in
advance.
Does anybody have any other comments?
DR. KOTLOWSKI:
DR. BROWN:
CHAIRWOMAN:

Madame Chairperson?

I do, Madame Chair.
I think I got Dr. Brown

first.
DR. BROWN:

This is Lawrence Brown.

I

am certainly receptive to, in fact, Mike's perspective
on this.

I'm okay with that.

And I think that

probably had the issue been so significant for Maya
Angelou's son that he would have probably raised it.
CHAIRWOMAN:
DR. BROWN:

Exactly, exactly.
He was so forthright in

terms of what he thought should be his mother.

So I

am comfortable with, in fact, allowing the mint to

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have the conversation, the very sensitive
conversation, I might add, between the mint and the
significant others of the persons that we honor.
CHAIRWOMAN:

Right.

Thank you.

Who

else had a comment?
DR. KOTLOWSKI:
Chairperson.

I did, Mary -- Madame

This is Dean Kotlowski.

If it's

possible, I am on the side of Dr. Brown and Mike Moran
and also on the side of Mary.
Ride should be there.

I still think Dr. Sally

And ultimately, like Mike and

Dr. Brown were saying, let the mint work this out.
would just point out something.

I

It is not clear to me

that Maya Angelou earned a doctorate, a PhD.
CHAIRWOMAN:

She did not.

DR. KOTLOWSKI:
she was a professor.

Okay.

All right.

So

So you all have people in

academe, you know, very prominent people who will
become, quote, unquote, "professors" without
doctorates.

So here again, it is something parallel

to being an ambassador or president or senator or
something along those lines.

It is not the actual

doctorate.

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And, Madame Chairperson, I think what
you were saying is right, that, you know, Maya Angelou
was much more than just the title.

So, really, if you

were going to put something for her on the coin, you
would probably have to put Professor Maya Angelou.

Do

you really want to go down that rabbit hole?
CHAIRWOMAN:

No.

No.

The son got what

his remembrance of his mother as the way that he
wanted it, and I think that we've already chosen the
design.

So any further questions or comments?
Okay.

This concludes our business for

today, and I appreciate you coming to the meeting.
The next meeting on your calendar, please, is May 18,
2021.

And if there's no further business to come

before the committee, I will entertain a motion to
adjourn.
DR. VAN ALFEN:

So moved.

MS. SALMON:

This is Robin Salmon.

CHAIRWOMAN:

That was Peter.

And,

Robin, you were a second?
MS. SALMON:

I'll second.

CHAIRWOMAN:

Okay.

All in favor of

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adjourning say "Aye."
(Whereupon, multiple unidentified
participants responded affirmatively.)
CHAIRWOMAN:
your cooperation today.

Goodbye, and thank you for

Thank you very much.

Bye-

bye.
(Whereupon, multiple unidentified
participants expressed informal
goodbyes.)
(Whereupon, the meeting concluded at
2:58 p.m.)

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CERTIFICATE OF NOTARY PUBLIC
I, NATALIE SCHMITTING, the officer before
whom the foregoing proceedings were taken, do hereby
certify that any witness(es) in the foregoing
proceedings, prior to testifying, were duly sworn;
that the proceedings were recorded by me and
thereafter reduced to typewriting by a qualified
transcriptionist; that said digital audio recording of
said proceedings are a true and accurate record to the
best of my knowledge, skills, and ability; that I am
neither counsel for, related to, nor employed by any
of the parties to the action in which this was taken;
and, further, that I am not a relative or employee of
any counsel or attorney employed by the parties
hereto, nor financially or otherwise interested in the
outcome of this action.
NATALIE SCHMITTING
Notary Public in and for the
District of Columbia

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CERTIFICATE OF TRANSCRIBER
I, LAURA MORIN, do hereby certify that this
transcript was prepared from the digital audio
recording of the foregoing proceeding, that said
transcript is a true and accurate record of the
proceedings to the best of my knowledge, skills, and
ability; that I am neither counsel for, related to,
nor employed by any of the parties to the action in
which this was taken; and, further, that I am not a
relative or employee of any counsel or attorney
employed by the parties hereto, nor financially or
otherwise interested in the outcome of this action.

LAURA MORIN

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