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Meeting

June 15, 2021
1

Citizens Coinage Advisory Committee
Public Meeting

Moderated by Mary Lannin
Tuesday, June 15, 2021
12:30 p.m. - 4:15 p.m.

Video/Telephone Meeting
801 Ninth Street, NW
Washington, D.C. 20220

Reported by:
JOB No.:

Natalie Schmitting

4614003

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A P P E A R A N C E S
Citizens Coinage Advisory Committee (CCAC) Members:
Mary Lannin, Chairperson of the CCAC
Sam Gill
Lawrence Brown
Dean Kotlowski
Thomas Uram
Robin Salmon
Donald Scarinci
Dennis Tucker
Peter van Alfen
Arthur "Art" Bernstein
Michael Moran

United States Mint Staff Members:
April Stafford, Chief, Office of Design Management
Boneza Hanchock, Design Manager
Pam Borer, Design Manager
Russell Evans, Design Manager
Roger Vasquez, Design Manager
Joseph "Joe" Menna, Chief Engraver
Ron Harrigal, Manager, Design and Engraving

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A P P E A R A N C E S (Cont'd)
United States Mint Staff Members:
Jennifer Warren, Director, Legislative and
Intergovernmental Affairs and Liaison to the CCAC

United States Mint Staff Members:
Greg Weinman, Senior Legal Counsel and Counsel for the
2022 Negro Leagues Baseball Commemorative Coin Program
Betty Birdsong, Deputy Director, Legislative and
Intergovernmental Affairs
Elizabeth Young, Attorney Advisor and attorney
assigned to the Merrill.s Marauders Congressional Gold
Medal

Program Liaisons:
Bob Kendrick, President, Negro Leagues Baseball Museum
John Passanisi, son of Merrill's Marauders, Robert
Passanisi
Robert Howland, son of Merrill's Marauders,
Mr. Gilbert Howland
Travis James West, President, U.S. Army Ranger
Association

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C O N T E N T S
PAGE
Call to Order/Roll Call

5

Approval of Minutes/Transcripts/Letters

7

Review/Discussion of obverse/reverse Candidate
Designs for 2022 Negro Leagues Baseball
Commemorative Coin Program

14

Review/Discussion of obverse/reverse Candidate
Designs for Merrill's Marauders CGM

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P R O C E E D I N G S
MS. LANNIN:

-- director of legislative

and intergovernmental affairs and liaison to the CCAC.
MS. WARREN:

I'm present.

the court reporter just got on.
Natalie -rollcall,

hear us.

And I

believe

So

We only just started with the

which you do have in the script.

So you

should be able -- and if -- you hopefully are starting
to record.
REPORTER:
recording.

Yeah, I am.

Yep.

It's

Mm-hmm.
MS. WARREN:

Okay.

REPORTER:

Mm-hmm.

Thank you so

much.

MS. LANNIN:

Yeah.

Greg Weinman, senior legal

counsel and counsel for the 2022 Negro Leagues
Baseball Commemorative Coin Program.
MR. WEINMAN:

Good afternoon.

MS. LANNIN:

Thank you, Greg.

here, Mary.

Betty Birdsong, Deputy Director
legislative and intergovernmental affairs.

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I'm

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MS. BIRDSONG:
MS. LANNIN:

Present.
Thank you, Betty.

Elizabeth Young, attorney advisor and
attorney assigned to the Merrill's Marauders
Congressional Gold Medal.
Elizabeth, are you here?
MS. STAFFORD:

She may be joining

later, Mary.
MS. LANNIN:
problem.

Oh, sure.

That's no

Okay.
And so the following liaisons will be

on the call today:
For the 2022 Negro Leagues Baseball
Commemorative Coin Program, Mr. Bob Kendrick, who is
president of the Negro Leagues Baseball Museum.
And for the Merrill's Marauders
Congressional Gold Medal, we have with us Mr. John
Passani -- Passanisi -- I'm sorry; I apologize -- who
is the son of Merrill's Marauders Mr. Robert
Passanisi.
Mr. Robert Holland, who is the son of
Merrill's Marauders Mr. Gilbert Howland.

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And, finally, Mr. Travis James West,
President of the US Army Ranger Association.
The thank you all for joining us today.
All right.
Mint.

I'd like to begin with the

Are there any issues that need to be addressed

before we start?
Okay.

Hearing none, the first item on

the agenda is the review and the approval of the
minutes and the secretary's letters from the May 18,
2021, meeting.

Are there any comments on the

documents?
MR. BERNSTEIN:

Art Bernstein moves

approval.
MS. LANNIN:

Okay.

I was going to

say -DR. VAN ALFEN:
MS. LANNIN:

-- second.

All right.

little ahead of me, gentlemen.

Okay.

You're a
So, Art, you

move to accept.
And, Peter, you're the second.
All those in favor, please signal by
saying aye.

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MULTIPLE VOICES:
MS. LANNIN:
to the motion?

Aye.

Are there any objections

So it sounds like it's unanimous.

And

the minutes and the letters are approved.
All right.

Now we will move to

consideration of the 2022 Negro Leagues Baseball
Commemorative Coin Program, which is authorized by
Public Law 116-209.

April Stafford will present the

portfolio design.
April.
MS. STAFFORD:

Thank you so much.

So here's some background on the
program first:

Public Law 116-209, the Negro Leagues

Baseball Commemorative Coin Act, requires the United
States Mint to issue three coins in commemoration of
the 100th anniversary of the establishment of Negro
Leagues:

A $5 gold coin, a $1 silver coin, and a

half-dollar clad coin, with designs emblematic of
the

Negro Leagues Baseball Museum and its mission to

promote tolerance, adversity and inclusion.
The year 2021 marked the 100th
anniversary of the establishment of the Negro National

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League, a professional baseball league formed in
response to African-American players being banned from
the major league.
On February 13, 1920, Andrew Rube
Foster convened a meeting of eight independent
African-American baseball team owners at the Paseo
YMCA in Kansas City, Missouri, to form a league of
their own, establishing the Negro National League, the
first successful organized professional AfricanAmerican baseball league in the United States.
Soon, additional leagues formed in
eastern and Southern states.

The Negro

Leagues

would operate until 1960.
The story of the Negro Leagues is a
story of strong-willed athletes who forged a glorious
history in the midst of an inglorious era of
segregation in the United States.

The passion of the

Negro Leagues for the national pastime would not only
change the game but also our country.

The creation of

the Negro Leagues provided a playing field for more
than 2,600 African-American and Hispanic baseball
players to showcase their world-class baseball

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abilities.
The Negro Leagues Baseball Museum was
established in Kansas City, Missouri, in 1990 to use
the many life lessons of the powerful story of triumph
over adversity of Negro Leagues players, to promote
tolerance, adversity, and inclusion.
Artists were asked to develop paired,
obverse, and reverse designs, showcasing the theme of
pride, passion, and perseverance.

These concepts,

identified by the program liaison, represent some of
the core characteristics that enable the players and
team owners of the Negro Leagues to triumph over
adversity.
The players embodied the winning spirit
of the Negro Leagues with pride.

Playing the game was

a passion for these players, that created joy in spite
of the times.

And more importantly, the story of the

Negro Leagues is not a sad or somber one, but rather
the power of the human spirit to persevere and triumph
over adversity.
In developing the portfolio, the Mint
worked closely with Mr. Bob Kendrick, president of the

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Negro Leagues Baseball Museum.

Though the liaison has

not noted specific preferences at this point in the
process, he has identified several individual and
paired designs that are favored, and I will note them
as we move throughout the portfolio.
And we are very, very honored today to
have Mr. Kendrick, our liaison for this program and,
again, president of the Negro Leagues Baseball Museum,
with us.
Mr. Kendrick, would you like to say a
few words to the committee?
MR. KENDRICK:
thank you.

Well, first of all,

And, Madam Chair, it is an absolute honor

to be a part of this.

All of us at the Negro Leagues

Baseball Museum, as you all can well imagine, are
tremendously proud of this effort.

And I'm very

grateful and thankful to all who have really poured
their hearts and souls into these designs.

We,

needless to say, are just thrilled about this
opportunity.

And we're looking forward to hopefully

bringing forth a series of coins that beautifully
captures everything that she just mentioned, that

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really makes the story of the Negro Leagues so
powerful, so compelling, so inspirational.
And that is the story that we've
documented in Kansas City now for almost 31 years that
we've been doing this.

And to see our museum grow

from essentially a one-room office in 1990 to now
being recognized as America's National Negro
Leagues Baseball Museum, as designated and had deemed
so by the

United States Congress in 2006, is

indicative of a tremendous journey for a little
museum that no one gave any chance of succeeding.
But when you parallel

that to the rise, the

triumphant rise of the Negro
almost identical.

Leagues, they're

No one gave the

an opportunity to succeed.

Negro Leagues

And not only did it

succeed, it changed the game of baseball.

But more

importantly, it changed our country for the better.
And that's the story that we're so
proud of.
of

And I think through this powerful series

coins, we'll be able to even further convey that

while

hopefully helping position the museum for

long-term

sustainable growth as we try to make

sure, number one,

that we -- that the legacy that

the Negro Leagues

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lives on forever and, number two, that its life
lessons that stem from this story will have tremendous
impact in the lives of future generations to come.
So I tip my cap to everyone involved
for everything that they are giving to this program.
And I'm excited to be a part of today's meeting.
Thank you all so much.
MS. LANNIN:
Mr. Kendrick.

Thank you so much,

I really hope that we can channel the

passion that you have for your job -- absolutely great
art, and we can all come up with a package that you're
really going to enjoy.
So I'd like to ask Joe Menna right now
if -- and Ron Harrigal if they have anything that they
would like to talk to us about on the obverse designs
to this coin program.
MR. MENNA:

This is Joe Menna.

I

don't -MS. LANNIN:
MR. MENNA:
afternoon.

Hi, Joe.
Good morning -- or

I have nothing special to add.
MS. LANNIN:

All right.

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Thank you.

Thanks.

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Ron, do you have anything to add?
MR. HARRIGAL:
not.

Yeah, Mary, no, I do

Thank you very much.
MS. LANNIN:

Okay.

So if we have any

technical or legal questions from the committee on -MS. WARREN:

Mary, this is Jennifer.

I

don't believe -MS. LANNIN:

Okay.

MS. WARREN:

I don't think April actually went

through the designs yet.
MS. LANNIN:

Right.

All right.

So,

okay, April, why don't you try starting with No. 1 for
the gold.

Thank you.
MS. STAFFORD:

Yeah, absolutely.

Absolutely.
And I just wanted to, again, thank you,
Mr. Kendrick, for being with us.

I did explain to the

Committee that you identified designs that you felt
were strong but were very open to hearing the
Committee's feedback.

Sir, if as I move through the

portfolio, if there is any design that you do feel is
strong or you favor and I don't mention that, please

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don't hesitate to add that in.
And I will also let the Committee know
that the required inscriptions for these coins
included designation, of course, of the value of the
coin, the year 2022, and the words "Liberty," "In God
We Trust," "United States of America," and "E Pluribus
Unum."
We are presenting these designs as
pairs, as explained earlier.

And so we will start

with Gold Pair 1.
In Gold Pair 1, Obverse 1 shows a
picture in action; and then its corresponding design
reverse one depicts a batter ready to hit that ball.
These designs lock the player in the eternal moment in
which the ball crosses between the mound and the
plate, representing the legacy and pride of Negro
Leagues players.
The obverse bears the inscription
"Negro Leagues Baseball," while "Their Legacy Plays
On" is inscribed on the reverse.
This pairing is favored by our liaison,
as it represents just the basics of the love of the

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game.
Moving on to Gold Pair 2.
Obverse 2 prominently features a
baseball with inscriptions reading "They Took Pride
When They Took the Field," while complementary
design Reverse 2 depicts a player from the Kansas City
Monarchs, the longest running franchise in the history
of the Negro Leagues.
The player, bat in hand, is
acknowledging the crowd by tipping his hat, which is
also a reference to the Negro Leagues 100th
anniversary campaign.

The additional inscription is

"Celebrating a Game-Changing Century."
In Gold Pair 3, Obverse 3 pictures to
baseball bats crossed over a baseball and a diamond,
with inscriptions "Celebrating A Game-Changing
Century" and "NLBM," which stands for Negro Leagues
Baseball Museum.
The corresponding design, Reverse 3,
depicts a player sliding into a base while an opposing
player reaches for the ball.
In Gold Pair 4, Obverse 4 features a

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Negro Leagues player at bat, looking intently at the
ball heading his way.
The complementary design Reverse 4
depicts a tip of the hat, a symbolic gesture of
respect for those who played for the sheer love of the
game and persevered, playing with pride and passion.
Additional inscriptions on the obverse
are "Negro Leagues" and "NLBM."

"Their Legacy plays

on" is also inscribed on the reverse.

This also is a

favorite pairing of the liaison.
In Gold Pair 5, Obverse 5 depicts the
the tense moment of a batter poised to hit a baseball,
symbolic of the excitement and skill players brought
to the field.

The complementary

design Reverse 5

depicts a player's tip of the hat.
Additional inscriptions on the obverse
are "Negro Leagues Baseball" and "For Love Of The
Game" on the reverse.

At this also is a favorite

pairing of the liaison.
Gold Pair 6, Obverse 6 depicts the
moment a ground ball is about to be caught in the
hands of a player.

The reverse, Reverse 6, depicts a

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baseball diamond.

Additional inscriptions on the

obverse are "Negro Leagues Centennial" and "Their
Legacy Plays on" and "Their Legacy Plays On" and
"NLBM" on the reverse.
In Gold Pair 7, Obverse 7 depicts
League founder Andrew Rube Foster in front of a packed
baseball stadium, with the inscriptions "We Are The
Ship" and "Andrew 'Rube' Foster."

Nicknamed the

father of Black baseball, Foster was a player who
later became the president and treasurer of Negro
Leagues Baseball.
Reverse 7 shows a baseball diamond and
the laurel wreath is attributed to the athleticism of
the Negro Leagues Baseball players who graced the
playing field.
Additional inscriptions on the obverse
are "Negro Leagues"; and "All Else The Sea" and "NLBM"
on the reverse.
In Gold Pair 7A, Obverse 7 is seen
again paired with Reverse 7A, a version of the
previous reverse with "We Are The Ship All Else The
Sea" added as an inscription.

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In Gold Pair 8, Obverse 8 is a portrait
of League founder Rube Foster with his well-known
quote "We are the ship ... All Else The Sea" written
below as an inscription.

The quote, which was

essentially Foster's declaration of independence,
means that the love of the game was so great it was
worth the adversity faced.
The complementary

design Reverse 8

depicts the shape of the classic baseball diamond with
the quote "They Took Pride When They Took The Field"
placed along the first and third baselines where
players traditionally stand for pre-game
introductions.

The dates 1920 and 1960 on the home

plate indicate the active dates of the Negro Leagues.
I will note that the obverse in this
pairing, Obverse 8, is a favorite design of the
liaison, as he feels it's the strongest depiction of
Rube Foster, who, again, is known as the architect or
master mind, if you will, of the Negro Leagues.
In Gold Pair 9, Obverse 9 depicts a
portrait of Rube Foster, while the corresponding
design Reverse 9 depicts a baseball diamond featuring

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the inscriptions "We are the SHIP All Else the SEA"
and "1920 NLB 1960."
Leagues Baseball.

NLB stands for, of course, Negro

The verse also has the additional

inscription "Negro Leagues Baseball."
In Gold Pair 9A, Design 9A provides an
alternate version of the obverse seen in the previous
pairing that includes Rube Foster's signature.

The

obverse in this pairing is also a favorite design of
the liaison.
In Gold Pair 10, Obverse 10 features a
portrait of Rube Foster, and its corresponding
reverse, Reverse 10, features a baseball sitting on
top of a home plate with the inscription "Where
History Touches Home!"

The design elements are a

symbolic portrayal of the way sports can integrate
people and bring them together, with the ball becoming
a vehicle to show the integration of the game, while
the home plate represents the goal that must be
attained to score and win.
I will share that the inscription
"Where History Touches Home" no longer resonates with
Mr. Kendrick, as it specifically associated with the

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museum and the museum's mission, as opposed to
speaking universally to the Negro Leagues.

Should any

recommended designs have this inscription, it is
requested by our liaison that it be replaced with
"Their Legacy Plays On."
In Gold Pair 10A, Obverse 10A features
a portrait of Rube Foster with his inspirational quote
"We Are The Ship All Else The Sea."

The corresponding

design Reverse 10A, an alternate version of the
previous one, depicts a baseball framed within a home
plate with the inscription "Where History Touches
Home!"
Gold Obverse 11 prominently features a
portrait of Andrew Rube Foster with the inscription
"Rube Foster."
Gold Obverse 12 depicts a baseball
player tipping his cap juxtaposed in front of a
baseball.

Again, dipping your cat is the ultimate

show of respect in baseball.

This design shows

respect to all who made this wonderful sport, pastime,
and profession possible, and to all the Negro Leagues
players who created a legacy to inspire future

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generations.

This also was a favorite design of the

liaison.
Madam Chair, that concludes the
portfolio for the gold options.

Would you like to

pause for discussion or move on to the silver pairs?
UNKNOWN SPEAKER:

Mary?

Madam Chair, you might be on mute.
MS. LANNIN:
MS. STAFFORD:

Can you hear me?
Yes, I can now.

Would

you like me to pause for discussion, or shall I move
on to the silver pairs?
MS. LANNIN:
would like you to pause.

Yes.

Yes, please.

I

I think we should just do

them -- we should do each individual grouping and -and talk about them, because we have so many designs.
So, Joe and Ron, do you have anything
to talk about these designs?
MR. HARRIGAL:

This is Ron.

No.

before -MS. LANNIN:
MR. HARRIGAL:

Okay.
-- It's a good

portfolio.

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As

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Joe?
MR. MENNA:

Thanks, Ron.

This is Joe Menna.

Same thing.

And

the like before, as I said before, any -- any concerns
of different patterns or textures in the -- either the
baseball diamonds or things like that, we can
accommodate all that.

So not to worry.

MS. LANNIN:
Okay.

Thank you.

Thank you so much.

So do any of the committee

members have a legal or technical question right now
before we talk individually about what we like?
DR. BROWN:
Lawrence Brown.

Madam Chair, this is

I have a question.
MS. LANNIN:
DR. BROWN:

Yes.
My question is whether or

not there would be any matter pertaining to "five
dollars" spelled out versus the dollar sign plus the
No. 5?
MS. LANNIN:
to answer that?

Okay.

Greg, do you want

Is that your question?
MR. WEINMAN:

Yeah, I don't believe

there's anything in the legislation that requires it

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to be either $5 or -- either way.

I think it's left

open to the artist's interpretation.
DR. BROWN:
MS. LANNIN:
MR. WEINMAN:

Thank you.
Any other questions?
I will check, just to

confirm.
MS. LANNIN:

Okay.

So let's -- we're

going to begin talking about the five-dollar gold.
And I would ask that all members keep the comments to
five minutes or less.

We had kind of a late start

today.
And please identify yourself when you
start.

Jennifer is going to be keeping track of time,

and she's going to let me know when you're close to
five minutes, and then that will be that.

So if we

have more questions that come up, save it for the end,
please, if you could.
So Robin Salmon, if I could begin with
you, I would appreciate that.
MS. SALMON:

This is Robin Salmon.

Thank you, Mary.
I also liked the pairings that Mr.

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Kendrick liked very much.

Gold Pair 1, those two

designs were clean and deliberate and looked very
good.

Gold Pair 5 also had the symbolism that I

thought was important to incorporate.
And I will say that what I was thinking
with all of these was to have a -- to focus on the
player and to have a player doing something different
on each side of each coin.

So that we have hitters,

batters, runners, catchers, et cetera.

And I wasn't

totally successful on that with my -- the things that
I liked the most, but I'm still trying to work in that
direction.
As worthy as Mr. Foster was and is to
the sport and Negro Leagues Baseball, I think in this
sense, it's probably better not to focus on him.

So I

didn't really look at any of those other than to note
that No. 8 did seem to be a good likeness.
And thank you, Madam Chair.
MS. LANNIN:

Thank you so much

Robin, and thanks for giving your rationale.
Mike Moran.
MR. MORAN.

Thank you, Mary.

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Mike

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Moran here.
When I first picked up the gold -well, let me say, first, before we do this, we in the
past have encouraged the Mint continually to do
pairings with our artists wherever possible.
Sometimes it's been successful; sometimes it's not.
But no artist, I think, really deep down truly wants
to see his work muled with another artist on a coin.
I think particularly with this
portfolio, which is very strong, that we can adhere to
and try and respect the pairing that the Mint has
presented to us.
myself on this.

I certainly will be voting that way
And I hope to see more like this.

Now, on the specifics, on the gold
coin, the first obverse or first pairing I thought was
excellent.

It told a story.

wanted it to do.

It showed action.

the size of a nickel.
before.

It did everything I
But not on a coin

You all have heard me say this

This is not the kind of design you want to

put on the five-dollar gold coin.

You want it on

either the dollar or the clad coin so that you really
get a full feel for the action that the two figures

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present.
piece.

It would get lost on a five-dollar gold
I hope that we can come back and think about

that as we look at the other two portfolios.
I like No. 4.
hat.

I like the tip of the

I like the image there.

But, again, it's a bit

small on a five-dollar gold piece.
And then I move to No. 5.

This does

it, but is it emblematic enough to suit the sponsor?
And when I saw the fact that he did indeed like this,
the answer is yes, it does.
Now, I'll take a little bit about 9A as
well.

9A really does get the portrait right.

the right size for a five-dollar gold piece.

It's
And in

that regard, we feel like we should have a portrait of
Rube Foster or a portrait of anybody on the front of
the five-dollar gold piece.

It needs to be up close

like this and not set back towards a three-quarters
bust, as I believe you can call it.
So for this grouping, I'll be looking
at probably No. 5, with some votes to No. 4.
don't know what I'll do about No. 1.

And I

Maybe -- we'll

see how things go with the others as to whether I move

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to bring it back into consideration.
Thank you, Mary.
MS. LANNIN:

Thanks, Mike, and thank

you for your rationale.
Dr. Lawrence Brown.
DR. BROWN:

Thank you so much.

This is

Lawrence Brown, and I want to thank the Mint and the
sponsor for this opportunity.

This is wonderful for

someone like me who, in fact, played baseball -- or
played at baseball and aspired to play baseball -- to
see all the wonderful designs had me captivated to say
where -- what was happening in this game.
So for example, in the pair that I
think is 3 -- it's that reverse -- that stimulated me
to say whether or not this is a play at first base,
depending on where we were talking about, or at second
base or third base.

So this is quite stimulating to

me.
I think in terms of the designs, I
would land, to boot, with Mike and Robin in many
respects.

So the designs that are likely to get my

vote are going to be 1, 3, 5, 9, and 9A probably

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because, again, they picture, really, the sport in a
way that I think is very positive.
And with respect to 9, I think that in
some cases that it is really important to really
highlight the heroes and sheroes.

I think in this

case much of the public may not be aware of the
National Leagues -- Negro Leagues Baseball.

So I

think it really is helpful to add a portrait that will
ask them to be asking the question:

Who was he; what

was his role?
Thank you, now.
MS. LANNIN:

Thanks Dr. Brown.

Donald Scarinci.
MR. SCARINCI:

Thank you.

Thank you,

Mary.
Can you know, first of all, the designs
in general are just wonderful.

And I just wanted to

compliment the artists for the designs in general.
I will have to say, though, that -- and
it's perhaps a function of, you know, the remote
working that we're all still doing, you know, which
is, you know, the way we communicate with the artists

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and fusion artists anyway anyway -- but there is
definitely -- some of these great designs are
absolutely not going to work on the five-dollar gold.
And for whatever reason, it doesn't appear that the
artists took the size of the planchet into
consideration on some of these otherwise really good
designs.
So I think we obviously have to do
that.

And the first cut that we make when we look at

these design needs to be to hold up the gold coin
size.

And if you don't know what the size is, it's

actually on the bottom.

You know, but we need to know

that this is a small coin.
Right?

This is not a big coin.

So, you know, these designs that would look

fine and would look very good, very attractive on
dollar-size planchets or even half-dollar-size
planchets, you know, we just can't use them on the
gold coin.
So, you know, I look at these designs,
first, from -- by taking or removing those designs
that just aren't going to work on this small size.
And, you know, so I look, you know, at No. 5, which I

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think is, you know, is, like, a really cool design,
especially on the gold coin.
I look at No. 6 which would work from a
size point of view, although I don't think it's as
compelling as No. 5.
And then you could go with the portrait
on 9A, you know, if you wanted to do a portrait.
Right?
You know, you could certainly also do
the portrait, you know, in the stand-alone, which
would be the better portrait.

If you're going to do a

portrait, the stand-alone on Obverse 11, you know,
that would actually be the best portrait for a gold
coin if you wanted to put a portrait on a gold coin.
Now, let me talk about that for a
few minutes.

The Gold sells the least.

Right?

So

from the point of view of, you know, obviously the
entity, the supporting entity is looking to get that
surcharge.
the day.

Right?

That's the objective at the end of

So we can't lose sight of that objective.

They want to make money.

Pretty coins sell.

that are cluttered and ugly don't sell.

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Coins

And the track

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record onward and onward to show that.
And the gold portrait, to put a
portrait on a gold coin almost dooms the gold coin.
Right?

Because people -- you know, the purchasing

drops precipitously from the little clad, you know,
half-dollars to the dollars.
more rarified air.

And then the gold, it's

So for somebody to be compelled to

buy the gold coin, you have to give them a reason.
If

you're going to put a portrait on the gold coin,

you're eliminating a lot of buyers, I'm afraid.

You

know, 'cause they just don't care about the
portraits,

you know.
So -- and I'm talking about the general

collecting community, as opposed to people who are
going to buy these coins that have an interest in
these coins.

But the gold coin's an expensive item.

A portrait on a gold coin, the track record, if you
look at the Red Book, it just doesn't -- they don't do
well.
So I wouldn't put a portrait on the
gold coin.

If you want to do a portrait, put it on

the half-dollar, if you really feel the need to do a

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portrait, you know.

But I would go for the gold coin

to make it pretty, because if you look at the Red
Book, the mintages are high; when you look at the
coins that you -- pop out at you and say, oh, would
you, this is really pretty, I got to have this, I got
to have that, you know, they are -- you know, the gold
coins that are pretty will sell.

And from a

sponsoring entity point of view, you really have to be
thinking about how am I going to get my -- what's my
best shot to get my surcharge.

Right?

I mean, and we can do everything here.
We can think about everything else later.

But, you

know, that's why they've gone through all this effort
to get Congress to approve a program.

So, you know,

they hope to make a surcharge so they can do things
with the money.
So I favor No. 5 for that reason, as
being the best design and most likely to sell a gold
coin.
I also just want to just say one last
thing which is I love the pairing of the same artist
doing the obverse and reverse.

I've been talking

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about that for years.

I'm delighted to see that.

That's it.
MS. LANNIN:

Thank you very much,

Donald.
All right.

Sam Gill, what are your

thoughts?
MR. GILL:

Thank you, Madam Chair.

This is Sam Gill.
Well, first of all, I enjoyed looking
at this portfolio virtually throughout the entire
series, each and every single design.
was just really, really well done.

It was fun; it

And I compliment

the artists so much on this.
I focused very much on Pair 1 and 5.

I

hear Donald and I hear Mike, and maybe -- and they
could very well be right.

Personally, I would be

very, very happy with the 1 on the gold coin because
there is spacing around the player.

I love the idea

that he's pitching and then the batter on the reverse
is looking for that pitch.
And for both 1 and 5, I like the idea that "Negro
Leagues Baseball" is spelled out and

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prominent so that people can see what this story is
trying to tell.

So I'm going to go with 1 and 5.
I did not focus on Rube Foster,

although I love the designs very much.
be a most interesting guy.

I found him to

But because there were so

many players, I think 2600 players, throughout the
years, that played on the Negro Leagues Baseball
teams, so I just wanted to focus more on generic
players.

And so 1 and 5 would be my choices.
Thank you, Madam Chair.
MS. LANNIN:

Thank you so much, Sam.

Dennis Tucker.
MR. TUCKER:

Thank you, Madam Chair.

I

want to address Dr. Brown's comment really quickly
about the spelling out of denominations versus using a
dollar sign and a numeral or some other combination of
typography.
2007 and was kind of a turning point
for the Mint.

That's when the Presidential Dollars

came out, which were circulating coins that for the
first time used the dollar sign.

And that's also the

year that the Jamestown 400th anniversary five-dollar

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gold coin came out, which used a dollar sign and a
numeral 5.
And then a few years later, in 2013,
the Girl Scouts of the USA Centennial Silver Dollar
used a dollar sign and a numeral 1.

So it's really --

it's only in recent years that typography has been
used.

And since 2015, at least one commemorative coin

design every year -- nearly every year has it used
that.
I'm a traditionalist.
it spelled out.

I prefer seeing

I think that follows, you know,

traditionally, the 1792 Mint Act more faithfully.

But

it is kind of the way that modern commemorative coin
programs have spelled out the denominations.
Specifically looking at this program, I
liked Gold Pair No. 1.

And, Mike, I understand

what you're saying about the size of the canvas, but
I think
symbolic

that these figures are iconic enough and
enough that they get the job done.

mean, if you

I

look at the 1995 Civil War

Battlefield Preservation

gold piece, the main

element is a bugler on horseback.

And you don't

need to see every buckle on his saddle

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and every stitch of his uniform to see what he is at
that size of a coin.
happening here.
players.

I think we have the same thing

You can see that these are baseball

One is pitching; one is batting.

I think

this would be fine for the five-dollar gold piece
canvas.
Specifically about these designs, I
like the way they tell a story.
action-packed.

It's bold; it's

You look at the obverse; the pitcher

is throwing a ball.

You flip the coin over; the

batter is ready to swing.
I also found the text to be
thoughtfully laid out.

On the reverse, it cleverly

uses the arc of the lettering to foreshadow the
batter's swing.

When he swings that bat, it's going

to follow along "E PLURIBUS UNUM" down to "$5" and
then up along "UNITED STATES OF AMERICA."

I like that

effect on this coin.
And then the narrative on the text also
carries over from obverse to reverse.

"NEGRO LEAGUES

BASEBALL" on the obverse and "THEIR LEGACY PLAYS ON"
on the reverse.

This is a good balance.

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trying to put the entire message onto one side or the
other.

And I think it works quite well.
There are some things that I did not

like about other designs.

I won't get into that here.

I might talk about some of the information
architecture and similar concerns when I talk about
the other coins in the program.
Thank you, Madam Chair.
MS. LANNIN:

Thanks, Dennis.

Dean Kotlowski.
DR. KOTLOWSKI:

Thank you, Madam Chair.

This is Dean Kotlowski.
I'd like to give three tributes to
begin with.

First, a tribute to the Negro Leagues

Baseball Museum, which I happened to visit 20 years
ago, and I think it's just a wonderful place.
I'd like to give a tribute to the
artists.

This was a very strong portfolio.

And lastly, a tribute to Don and Mike
who in the past two years have gotten me to think
more
is

and more about the five-dollar gold and what
appropriate and what is not.

And they will see

where

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I am going along with them and maybe departing from
them.
I think there are two things we can do
with the gold coin:

say something about some of the

essentialism of baseball or do a portrait of Rube
Foster.

I lean toward the former.
And I agree with almost everything

Dennis said.

I really like No. 1.

I think there's

enough action there that that would work on the fivedollar gold coin.
PLAYS ON."

I like the quotation "THEIR LEGACY

I'm glad to see "Where History Touches

Home" is something that is not going to be worked
with.

I like the quote from Rube Foster about the

ship and the sea.
I don't think that the quotation "they
took pride when they took the field" really gets us
anywhere because I would have just assumed that they
did.

That would have been my default.

reiterate, I really like No. 1.

So just to

And I wasn't as

impressed with No. 5, but Mike and Don have sort of
persuaded me to give it a few points.

I'd like to

maybe see faces or maybe just bodies here.
thought

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that would be a little more compelling.
Here's where my education about the
five-dollar gold coin, really, you're going to see
that.

I would've liked a portrait of Rube Foster with

a -- with the stadium.
on.

But that's just too much going

And there's always too much text with those.
So like Mike, I actually was drawn to

No. 9A.

I thought that if you're going to do the

portrait, do it as big as possible.
nice quotation on the back.

I think there's a

You have the diamond.

And I also like the signature well enough.
And just a little bit of shout out to
Obverse 12, not to forget about it.

I'll give it a

few points.
Thank you very much, Madam Chair.
MS. LANNIN:

Thank you so much, Dean.

Peter

Van Alfen.
PETER VAN ALFEN:

Thank you, Madam Chair. One

of the things that I was looking at
across this portfolio was a way to try to tie all of
the designs across the three points together, you
know, just to make the set, you know, a little bit

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more compelling.

And it just so happens that those

designs that I found most attractive across the set
are also the designs that I think have a narrative
arc, and they also, in fact, correspond to
Mr. Kendrick's preferences.
And I think that this is something that
we should discuss, you know, in the selection of these
designs, just how to tie, you know, the three points
together.

So my preference for the gold is No. 1,

because here we have the pitch and swing.

And then

with the silver 1, we have the connect, you know,
with

the ball and then the fan catch of the home

run.

And

then with the clad 3, we have running

the bases and

then, you know, the hands on the bat

which could be

sort of a celebration.

So, you know, in those designs, I see
sort after a narrative art that ties, you know, these
three coins together.

So my preference for the gold

is No. 1.
And I do take Mike and Don's comments,
you know, about the size of the coin, and I certainly,
you know, will support No. 5 as well.

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there is a stronger connection and a stronger arc, you
know, with No. 1 when we look across all of these
coins.
So in the hopes of just keeping this
brief, I'll end there.

Thank you.

MS. LANNIN:

Thanks so much, Peter.

Art Bernstein.
MR. BERNSTEIN:

Hi.

This is Art

Bernstein coming to you from Cleveland, Ohio, the site
of the League park baseball stadium where the
Cleveland Buckeyes won the Negro World Series in 1945.
After that little advertisement, I will
tell you that I like design Gold Pair 1 for the
reasons already stated:

I appreciate the sense of

action, the throwing, the hitting.
One design that hasn't -- no one else
has commented on was Gold Pair 2.

I was attracted to

the specific reference -- somewhat subtle reference to
the Kansas City Monarchs, the team that, I think,
played the longest and also the team from which Jackie
Robinson began his career in baseball.

And I just

thought acknowledging a specific team had some value.

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If we're going to utilize a design
featuring Rob [sic] Foster, I also like the design 9A.
And as someone else mentioned, that featured his name
as a signature, which I took to be an autograph; that
ties in with the baseball fan.
Thank you, Madam Chair.
MS. LANNIN:

Thank you so much, Art.

Tom Uram
MR. URAM:

Thank you, Madam Chair.

In looking over the designs, I too -- I
mean, it's a fantastic portfolio.

And I do like

Design No. 1 and, of course, No. 5 based on a number
of the different discussion points by my
colleagues here.
I was looking over the Red Book now,
and Don is right that, you know, many of the gold
coins, if you go back through here from Boys Town to
the veterans to Mark Twain, all of those were
portraits.

And if the stakeholder would, you know,

want a portrait, I think that, for a number of other
reasons, this could be a good coin to have that on.
So I'm going to give some votes to 1 and 5 and also

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No. 11 and No. 9.
I think that, in particular, No. 9
has -- would really look well, and so would No. 11.
So since we already know the status of the -- you
know, the sales for gold, for the most part, in -market, this might be a good place to have it, as it
relate to the entire portfolio.

So I will give some

points to the portrait as well as probably, then, with
my second choice is No. 5.
Thank you, Madam Chair.
MS. LANNIN:

Thanks, Tom.

And, okay, I agree with the majority,
it seems, of my colleagues.
1, absolutely.
it.

I -- my favorite was No.

I kept -- my eye kept going back to

It passes my tabletop test, which is where you

would like to pick it up.

I liked No. 5 as well.

And

I think that there's enough negative space on both of
these pairs -- or on each of these pairs, I should
say, that it would look just fine on a five-dollar
planchet.
So does anybody have any other comments
to make?

Any from the staff of the Mint?

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MR. MORAN:
MS. LANNIN:
MR. MORAN:

Mary, this is Mike Moran.
Yes, Mike.
My meeting was acting up.

I've taken a little bit of heat here by
not falling in love with No. 1 right away.

Let me, in

answer to the criticisms -- or they're not criticisms,
but the comments:

I know you like No. 1, the design,

and it is beautiful when you see it on these sheets.
But think how much better it would look on the silverdollar coin or the clad half, either one.

You dumb the

design down when you put it on a five-dollar gold
piece.

It's the size of a nickel.
So let me propose -- and I will propose

it as we get to these, just to give you a heads up -I'm going to ask that it be a write-in for both the
silver dollar and the clad, and we'll see where it
goes, 'cause I think it's going to be a split vote on
this one, and I think 5 will carry but not by much.
MS. LANNIN:

Okay, Mike.

Thank you.

So I guess -MR. MORAN:
MS. LANNIN:

Don't you love that?
You know what, and you

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make my job of doing the minutes so easy.

I wanted to

thank you for that.
Okay.

Anybody have any other

discussion?
Mr. Kendrick, what do you think of this
whole process?
MR. KENDRICK:

Well, that -- they're

having the exact same challenges that I had trying
to -- virtual connectivity interruption -- it -- it
was, as you can imagine, a very difficult task for me
and certainly not understanding fully the process and
trying to take into consideration all of the advice
that the team was giving me as related specifically to
sizes and those kind of things is what shaped my
direction.

But, you know, in the end, as the one

gentleman said, we are in the business of selling
coins.

So whatever -MS. LANNIN:
MR. KENDRICK:

Exactly.
-- design that

ultimately we think gives us the best chance to sell
coins, that's the one I like best.

But, now, they are

all tremendous, tremendous designs, and it was a very

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challenging process, which is why I'm so elated with
the entire team of artists.
MS. LANNIN:

And so I

--

Well, I think our artists

really did -MR. KENDRICK:
MS. LANNIN:

They really did.

-- a really great job, and

I hope that we can keep you happy and get you the
three coins that are going to make you the most money.
How's that?
MR. KENDRICK:

Yeah, I know y'all will.

I know you will.
MS. LANNIN:

Okay.

Anybody else have

any last-minute comments?
MR. TUCKER:

Madam Chair?

MS. LANNIN:

Yes, Dennis?

MR. TUCKER:

I actually like Mike's

idea of moving Gold Pair 1 under the silver dollar.
think that's a great idea.
perfectly there.

I

I think it would work

I do think it would work as a five-

dollar gold coin, but I think it would be -- it'd be
very eye-catching and very popular as a silver
dollar.

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I wonder if we might hold off voting
and ranking each denomination until the end; is that
what you plan to do?

That might be helpful rather

than voting on gold now and then discussing silver and
voting on silver, then discussing clad and voting on
clad.
MS. LANNIN:

Well, since we --

MS. WARREN:

This is Jennifer.

MS. LANNIN:

Jennifer, go ahead.

MS. WARREN:

-- I would suggest that

I

--

we --

you all do that, to save time, as well as for the next
two, the silver and clad, to allow April to go through
both portfolios and just to talk about the ones that
have preference, 'cause you have the description of
the others.

And then that way you can lead to

conversation and then to the final vote.

Just for

time period, because we are behind time.
MS. LANNIN:

Great.

So we will

continue with April reading the descriptions for the
one-dollar silver, please.
MS. STAFFORD:

Thank you, Madam Chair.

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And just to underscore what I heard Jennifer say and
make sure you're okay with it, Madam Chair, given that
the Committee has had the designs and the design
descriptions for some time and the fact that we
started the meeting a little late, I'm prepared to
move through the design portfolio, pausing at the
designs that are identified as a favorite designed by
Mr. Kendrick, reading the description for those, and
then submitting to the transcriber all of the design
descriptions for the record, if that is okay with you,
Madam Chair.

Is that all right?
MS. LANNIN:

would like you to do that.

That's preferable.

I

Thank you very much,

April.
MS. STAFFORD:

Okay.

All righty.

So -MR. WEINMAN:
MS. STAFFORD:
MR. WEINMAN:

And -Sorry.

Go ahead.

Yeah, Mary, this is Greg.

Just to let you know, also, I think it's -- I think
I -- it's perfectly fine to do this, score everything,
and then you can make recommendations by motion based

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on what comes out of the scoring, if we want to move
along fairly quickly here.
MS. LANNIN:
MS. STAFFORD:

Okay.

Thank you.

All righty.

Thank you.

So we'll start with the silver portfolio.
start with Silver Pair 1.

And we

In Silver Pair 1, Obverse 1

features a batter hitting a baseball, and its
corresponding design Reverse 1 shows a crowd of hands
excitedly reaching upward for a home run ball.
additional inscription "NLBM" is included.

The

This is a

favored design pairing of the liaison.
We have Silver Pair 2.

Obverse

depicts a player in action about to throw a pitch,
with the inscription "THE SOUL OF BASEBALL."

I will

not read the reverse, and I will share with you that
the obverse is a favored design of Mr. Kendrick's,
our

liaison.
Same thing with Silver Pair 3, Obverse

3 features a Kansas City Monarchs hitter at batch, and
this obverse is a favorite design of the liaison.
In Silver Pair 4, Obverse 4 gives us a
player's eye view of a pitch being delivered to the

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catcher at the plate.

Again, this obverse is a

favorite design of the liaison.
We have Silver Pair 5, Silver Pair 6,
Silver Pair 6A, Silver Pair 7, Silver Pair 8, Silver
Pair 8A, Silver Pair 9.
Silver Obverse 9 is inspired by classic
team photos, with a diverse group of nine players.
This obverse is a favorite design of the liaison, as
it represents the team aspect of the game.
We also have Silver Obverse 10, Silver
Obverse 10A, Silver Obverse 11, and Silver Obverse 12.
This is a favored design of the liaison as well.
Madam Chair, shall I go ahead and cover
the clad, or would you like me to pause?
MS. LANNIN:
MS. STAFFORD:
designs.

All righty.

Yes, please.

Yes, please.

Moving on to

the clad

Clad Pair 1, Obverse 1 depicts a

sliding into home while the catcher is in
and includes the inscription "WHERE HISTORY

player
position
TOUCHES

HOME."
The corresponding design Reverse 1
shows a group You of Negro Leagues Baseball players.

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The liaison identified both the obverse and reverse as
strong designs but does not necessarily favor them as
a pairing.
We have Clad Pair 2, Clad Pair 3.
Clad Obverse 3 depicts a baserunner
barely beating the throw to home plate.

The eight

stars along the top represent the eight charter
members of the on Negro National League when it was
formed in 1920.

The complementary

design, Reverse 3,

depicts a familiar sandlot baseball tradition:

the

captain of each team using a bat to determine which
side bats first.

Additional inscriptions on the

obverse read "CELEBRATING A GAME-CHANGING CENTURY" and
"NLBM 1920-2020/"

"THEY WENT TO BAT FOR CHANGE!" is

inscribed on the reverse.
This is a favorite pairing of the
liaison.

I will note that the liaison particularly

appreciated the uniqueness of these designs, noting
that he might expect the reverse to resonate broadly,
as it features a sentimental symbol of community that
people would recognize from playing the game during
their own childhood.

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We also have Clad Pair 3A.

This

pairing offers the same design pairing but with
changes to the border of the obverse.

And this also

is a favorite pairing of the liaison.
We have Clad Pair 4, Clad Pair 5, Clad
Pair 5A, Clad Pair 6.
Obverse 6 depicts overlapping portraits
of two players peering out to the viewer framed by a
baseball positioned in the background.

This obverse

in this pairing is a favorite design of the liaison.
In Clad Pair 7, Obverse 6A shows one
man peering at the viewer framed by a baseball
positioned in the background.

This obverse, as well,

is a favorite design of Mr. Kendrick's, our liaison.
In Clad Pair 8, Obverse 6A offers a
similar design pairing but with a different reverse.
But, again, it's the same obverse, which I believe
is -- yes, it's exactly the same as in Clad Pair 7.
So it remains a favorite design by our liaison.
And, finally, you have Clad Obverse 9.
Madam Chair, that concludes the
portfolio.

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MS. LANNIN:
All right.

Thank you so much, April.
What I'd like to do is I

like to talk about the silver first and go through the
Committee members before we talk about the clad.

I

think it's asking a lot for Natalie to keep track of
all the stuff.
So let me begin with Dean Kotlowski.
DR. KOTLOWSKI: Thank you, Madam Chair.

This is Dean

Kotlowski.
And, Mike, you persuaded me.

Okay?

So

with -- I'll get to the -- of what I was trying to do
with all three of these.

I wanted something that

would put me in the game, something that said
something essential about baseball, and something that
said something in the sense of about the Negro Leagues
Baseball.
So just to kind of reiterate here, on
the Gold Pair No. 5, if we went with that one, you
zoom in on the hands and the tipping of the hat;
that's very nice.
Foster.

Or you do the portrait of Rube

Again, that would be for the gold.
For the silver, Gold obverse and

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Reverse No. 1, I think, really is an excellent design
that everyone fell in love with.
But to go to the actual silver designs,
which is what we're supposed to be talking about here,
I do think No. 1 put me in the game.

This is the one

that -- exactly -- the one that shows the guy hitting
the ball and then shows the fans struggling for the
ball while also waving a pennant.
this was a very clever design.

I thought that

It brought a lot of

elements together with really nice balance.
And just a little bit of a shout out
with the silver designs, Nos. 6 and 6A, which showed a
uniform, something that you would see at a baseball
museum, and I thought that that was very good.
I want to give a shout out to the
artist who drew No. 8 and 8A and 9.
very clever.

I think it was

The problem is it doesn't work.

looks just too much like a wheel.

It

But I -- there was

some imagination there, and a shout out.
The one that I wanted to fall in love
with was 10 and 10A, because it put me in the game.
I'm either at Yankee Stadium or Nationals Park and I'm

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watching an outfielder.

And I love, especially, 10A.

I'm glad you stopped there.
The use of the lettering in the wall:
The problem is it's not an outfield; it's an infield.
So everything is really sort of thrown off, and they
could go with that.
But those are my comments, and I look
forward to talking about the clad, where I have
something in mind.

Thank you, Madam Chair.

MS. LANNIN:
Tom Uram.

Are you with us?

MR. URAM:

Thanks --

MS. LANNIN:
MR. URAM:
super.

Thanks, Dean.

There you go.

Yeah.

The designs are

And I too -- if we go down the road where

we're going to take that reverse -- I mean the Gold
Pairing No. 1 and put that on the silver dollar, then
I'm kind of looking at now where are we with the clad?
And many of the designs -- I like the No. 1 pairing
here -- virtual connectivity interruption -And I also like the hands that were
in -- let's see here, number -- the hands with the

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baseball.
MS. LANNIN:
MR. URAM:

Tom, that's in the clad.

That's in the clad, yeah.

So, yeah, that was No. 3, I believe.

Or let's see

here.
MS. LANNIN:

Okay.

Let's just talk

about silver, huh?
MR. URAM:

I guess I was trying to

figure out, if we end up going with Mike's thoughts
here.
MS. LANNIN:
MR. URAM:

Yeah, yeah.

So on silver, I'm going to

stick with No. 1, then, pretty much.

And then with

the idea of maybe that clad one being the gold piece,
actually, Clad No. 3 being the gold.
Thanks, Madam Chair.
MS. LANNIN:
Thank you.

Okay.

All right, Tom.

You got me anyway.
Peter Van Alfen, please.
MR. VAN ALFEN:

Thank you, Madam Chair.

I have a really strong preference for
No. 1, the silver, as well.

I like the action; I like

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the immediacy.
design.

I think that this is a very clever

In looking over all the various earlier

baseball-related commemoratives done by the U.S. Mint,
I mean, there's nothing quite like this at all.
Though this would be my preference.
And I also thought that 6 and 7 were
quite good.

But, again, I think that No. 1 will work

best, particularly paired with some of the other
obverse reverses in the other notes.

So I'll leave it

there.
MS. LANNIN:

Thanks, Peter.

Robin Salmon.
MS. SALMON:

This is Robin Salmon.

Thank you, Mary.
No. 1, silver, is also my favorite for
all the reasons that have been stated.
really like No. 6.

And I also did

I thought that that design was

different, and the basis around the perimeter of the
obverse were clever.

The stitching on the reverse --

that's a nice design.
No. 8, 8A, and 9 were -- I wish you
could do a medal.

I really liked these.

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that it would do something -- it'd pass Mary's
tabletop test.
And that's actually starting to become
my tabletop test, Mary.

I'm going to steal it.

MS. LANNIN:

Good.

That's what I say.

MS. SALMON:

But there's some really

Go ahead.

beautiful designs here.

But for the silver, I will go

with No. 1 unless we have an amendment to that.
Thank you.
MS. LANNIN:

Thanks, Robin.

Sam Gill.
MR. GILL:

Thank you, Madam Chair.

This is Sam Gill.
I like Pair No. 1 as well.

I would

prefer to have, as I said before, the "Negro Leagues
Baseball" spelled out.
with initials there.

But it still gives a reference

But it's full of action, and it

would look really, really good on a coin.
I also liked Pairing No. 4.

I loved

the batter and the umpire and the catcher, all -- and
a ball coming right on by.

I loved that action,

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thought it was terrific.
reverse.
HOME!"

And I didn't mind the

You would take out "WHERE HISTORY TOUCHES

And I would put, again, "NEGRO LEAGUES

BASEBALL" in place of that.
I liked Pair No. 2.
picture there.
a

I liked the

So my votes are going to be kind of

mixture on these three concepts.
Thank you, Madam Chair.
MS. LANNIN:

Thanks, Sam.

Dennis.
MR. TUCKER:

Thank you, Madam Chair.

Boy, this is getting complicated.

But

just looking at these designs as designs, and
separating them from what denominations they go with,
I would say that Pair No. 1 has my strongest vote.
has a lot of vitality.

It

It's about as explosive an

action scene as you can have in baseball.

And then

flipping the coin from obverse to reverse, you get a
story:

the batter slams a ball, and it flies into the

stands.
Something else I also liked about it is
that by connecting the batter to the crowd, it

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celebrates both the Negro Leagues players and the
immediate audience in the stands, and symbolically the
rest of America, which I think satisfies some of the
museum's goals.

And it puts the coin's viewer in the

action, right in the middle of the crowd.

It's an

unusual perspective, and it makes us part of the story
that's being told.
That's my favorite design.

I have -- I

don't know if this is the time to talk about proposals
of switching designs amongst -MS. LANNIN:
that till later, Dennis.

No, we're going to say

Okay?

MR. TUCKER:

We'll save that, okay.

I will not comment any further.

So

Thank you, Madam

Chair.
MS. LANNIN:

Thanks so much.

Lawrence Brown.
DR. BROWN:
thank you, Madam Chair.

This is Lawrence Brown, and
And I, too, will make sure to

be sensitive to the fantastic job that you have as
being chair.
I must say that, first and foremost,

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let me give my thanks to the artists, Mr. Kendrick,
and The National Negro Leagues Baseball Museum.

I

wanted to thank them all before I commented.
Quite frankly, I -- given that I
represent the interest of the public, I don't have
skill sets and the expertise to really appreciate the
comments that Mike made with respect to the obverse
for the gold.

But I certainly also love Peter's

suggestion about how to put this as a set.
So, Madam Chair, I would vote for the
Silver Obverse No. 1, and give kudos also to Obverse 8
and 9, that pair.

So that would be my vote at this

time.
MS. LANNIN:

Thank you, Dr. Brown.

Donald Scarinci.
MR. SCARINCI:
is brilliant.

Okay.

So, listen, No. 1

And if -- there's nothing -- you know,

there's nothing else to say.
you know, I just love it.

I mean, the -- its --

I think if it gets a Joe

Menna's gold, it's an award winner.

I mean, if it's

sculpted right, I mean, I just love it.
it's going to be a great coin.

And I think

It's different; it's

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bold.

I can see why Peter, you know, and everybody

is -- you know, we're all gravitating to the same coin
for the same reason.

It's not something we've seen

before.
So, you know, I don't even need to say
anything else or talk about anything else.
the one.

This is

Sometimes it's -- sometimes it's just right.

This is one of those times that it's just right.
And the other thing I just wanted to
say as an aside, Mary, is the ultimate compliment that
you have just gotten from Robin Salmon when she told
you she likes the -- you know, she likes your test.
And, you know, you've only been collecting medals
for a short time, and you've got the compliment from
the person that it would be the most from.

So

congratulations, Mary.
MS. LANNIN:
compliment graciously.

Thank you.

I take Robin's

Thank you so much, Donald.

Art Bernstein.
MR. BERNSTEIN:

Madam Chair, before I

go into my comments, I did have a technical
question -- two questions related to gender.

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hoping Mi. Hendrick could tell us a little bit about
women playing in the league and what percentage of
them played, because some of these designs feature a
woman.
And then my other question was I looked
at Reverse 8 and Obverse 9.

I was wondering if there

are any women in those renderings.

I couldn't tell

from my printout.
MS. LANNIN:

Mr. Kendrick, are you on

the line?
MR. KENDRICK:

I am.

tell from those designs either.

And I couldn't

But to answer your

question, there were three very pioneering women who
played in the Negro Leagues:

Toni Stone, Connie

Morgan, and Mamie "Peanut" Johnson.

Peanut was

actually hailed from here in DC, who lived and died
here in DC.

Which I'm actually in DC today, as I'm on

this call with you all.

And -- is my birthday, so

this is my birthday gift.

Thank you all so much.

MS. LANNIN:

Well, Mr. Kendrick, happy

birthday.
MR. KENDRICK:

Thank you, thank you.

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And so, yeah, there was this element of the fact that
the Negro Leagues did open its door to women in the
latter part of its existence.

And then there were

also female owners and executives who were part of the
Negro Leagues well before Major League Baseball had
that.
And so that is one aspect that, when we
talk about the inclusion aspect of what we do and the
equity aspect of what this league represents, that is
embodied in that but didn't necessarily look for that
in this series of coins.

But that certainly is a very

pertinent part of the story.
MS. STAFFORD:

Yes.

And this is April.

Madam Chair, I'd just like to add that, yes, the
artist did include a female in both the obverse and
reverse in Silver Pair 9.

And there's also another

pairing where the reverse depicts a female.
So I don't know if it's readily clear
to the viewer, but if you look very, very closely,
yes, there's a female figure in those designs.
MS. LANNIN:

Fourth from the left, as

far as I can see, I think, in the obverse.

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MS. STAFFORD:

That's right.

Yes,

ma'am.
MS. LANNIN:

Yeah.

Arthur, are you

finished with your comments, or you would like to make
more comments?
MR. BERNSTEIN:
comment.

That was a question.
MS. LANNIN:

No, that wasn't a
And now that --

Okay.

MR. BERNSTEIN:

-- I've had the answer,

my comment would be that I think the inclusion of
women in this league is worthy of consideration as we
look at some of these designs.

So I think some of my

votes will go towards the designs that do portray the
women players.
I also would speak strongly towards
Silver Pair 1.
of the coin.

I love the way the baseball jumps off

And there have been some comments about

the hands on the reverse.

And what I liked about

those hands is, to my mind, they are of different
sizes.
groups.

And I think that refers to the various age
So you have kids, you have adults; they're

all part of this enthusiasm, and I thought that was

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notable.
A little bit of a shout out, again, for
the Kansas City Monarchs.

I've never actually been to

Kansas City, but I did like the fact that that was
featured on Obverse 3.
And Obverse 8 featured the fence.

I

like that architectural detail, the home run fence and
the way each set of words was on one of the fence
slats, I thought, was very clever.
Thank you.
MS. LANNIN:

Thank you, Arthur.

Mike Moran.
MR. MORAN:

Thank you, Mary.

Mike

Moran.
I'm with everybody else on No. 1.
will go through the strong points.
them.

I

Everybody's heard

I do like the concept of the team and the fact

that there is a female in there, fourth from left,
certainly, and also in the rotation in the wheel.
Somehow, I like to see that included somewhere in the
package, to show the diversity.
And I believe that's all I need to say.

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MS. LANNIN:
Okay.

So now it's up to me, and I just

couldn't get past No. 1.
this.

Thank you so much, Mike.

I am in Donald's camp with

What an incredible, incredible design.

We had

lots and lots of good designs in this portfolio, but
my eye keeps drifting back.
baseball.

I want to touch that

And then on the reverse, I want to be the

one that actually catches it.

So this is certainly my

tabletop test, and I will be giving a lot of points to
No. 1.
Okay.

Anybody have any more questions

about just the silver?
Okay.

Hearing none, let us go through

the clad, please.

All right.

I'm going to do the

same thing again.

Why don't I start with Dean

Kotlowski.
DR. KOTLOWSKI:
Chair.

Sorry, Mary -- Madam

Just a little bit of -- a little bit late

here.
When I looked at the clad, the tabletop
test for me was -- and I'm trying to get the exact
number here -- Clad Pair No. 2.

I wanted to look

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at -- I thought that this not only passed the tabletop
test, but it told the story of the Negro Leagues
traveling on buses.

You have a batter, you have an

athlete there.
And I just love all of those logos
honoring all those different teams.

I'm somebody who

loves sports logos, and I love good sports logos.
And, you know, just trying to figure out what they all
were, I think, is a great way of honoring the Negro
Leagues.
You know, we're doing a lot of playing
around, it seems, or we're testing a lot of ideas as
to what works.

If there was any support for this coin

beyond my passion for it, it almost would work maybe
best on the largest canvas, which would be the silver
dollar.

But I think it works okay on the clad.
And my eyes were drawn to this one, and

it really was my favorite.

So my comments are very

brief, and they are geared here.

So what I'm weighing

right now are four different designs, trying to fit
them into three different coins.

So I may be going

back and forth when we have our discussion at the end.

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Thank you very much, Madam Chair.
MS. LANNIN:

Okay.

Thanks so much,

Dean.
I have next, how about Tom Uram.
MR. URAM:

Thank you, Madam Chair.

Tom

Uram.
As I mentioned a little earlier in the
clad, I do like No. 3.

I think that it adds to the

portfolio and has a different dimension than some of
the other ones do.

So I think it would add in.

So

I'm going to go with Pairing No. 3 for the clad.
Thank you.
MS. LANNIN:

Thanks.

MR. VAN ALFEN:

Peter Van Alfen.

Thank you, Madam Chair.

This is Peter Van Alfen.
I am quite drawn to No. 3 as well.
like the action.

I

I like the symbolism of the hands on

the bat on the reverse, and I think it will work well
with some of the other designs that we've discussed.
I also have to say that I really do
quite like No. 6 .

I think it's a nice design.

But,

again, I think that No. 3 would work better with some

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of the other obverse-reverse designs in the other
metals.

Thank you.
MS. LANNIN:

Thank you so much.

Let me see here.
MS. SALMON:

Robin?

This is Robin Salmon.

Thank you, Madam Chair.
No. 3 is also my favorite of the group.
But I do have to agree with Dean; No. 2 drew my eye
immediately.

I -- it makes me want to look up all of

those teams and find out more about them.

I think

that it could work on the clad size and not be lost.
But it's a very interesting design.

And the lettering

style is also quite interesting.
The obverse, of course, has the batter,
the bus, all of the things that go into the history of
this particular story.

And it's a nice design.

No. 3 is the one that I'm really focusing on.

But
Thank

you.
MS. LANNIN:

Thanks so much, Robin.

Sam Gill.
MR. GILL:

Thank you, Madam Chair.

This is Sam Gill.

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Again, really, really fun designs all
the way through, just really, really interesting.
I agree with Dean on No. 2.
very, very.

I love it

I my only concern is I think it's a

little busy, particularly the reverse.

I don't know

that those features pop out, but it sure does tell a
good story.

So I probably wouldn't put all my points

on No. 2.
I liked No. 3 very much.

I see the

merit in that, and that will certainly get some votes.
And I liked some combination of 5 and 5A and 4.

I

love the picture and I love the script, again, with
"NEGRO LEAGUES BASEBALL" on it.

And I thought that

some combination of any of these three would be great.
So my votes are going to be kind of
split on this one.

But particularly, they are going

to be on 3, and then 4 and 4A and 5.
Thank you, Madam Chair.
MS. LANNIN:

Thank you, Sam.

Dennis.
MR. TUCKER:

Thank you, Madam Chair.

This is Dennis Tucker.

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For the clad half-dollar, I actually
prefer Silver Pair No. 1.

But among these presented

portfolio designs for the clad, my eye is drawn to No.
1 because it's so action-packed and it shows a team
together.

And the other denomination designs that I

looked at showed more of, like, pitcher-and-batter
action or singular elements rather than a team
together like this.
My one recommendation would be
replacing "WHERE HISTORY TOUCHES HOME" with the words
"NEGRO LEAGUES BASEBALL," and that way it's spelled
out somewhere on the coin.

Otherwise, we don't have

those words.
I'm going to leave my comments there
because otherwise I would have to get into the mixand-match with other coin designs and denominations.
Thank you, Madam Chair.
MS. LANNIN:

Okay.

Thank you so much,

Dennis.
Lawrence Brown.
DR. BROWN:
Lawrence Brown.

Madam Chair, this is

And I must confess my colleagues have

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made this even more challenging, intriguing, and, my
goodness, certainly something difficult.
I must confess that I really love
Peter's suggestion at the very giddy-up about the
combinations, because it seemed to me that it made -take that 1 -- Obverse 1 in Gold, Obverse 1 in Silver,
and Obverse 1 in clad to make a collection.

That

would be memorable.
So I must confess I do like Dennis's
suggestion about replacing on the Clad No. 1 "WHERE
HISTORY TOUCHES HOME," to, in fact, put the "NEGRO
LEAGUES BASEBALL."
So I still say, Madam Chair, that I
still, in fact, would say for the clad -- and I know
that we're going to be talking about combinations, so
when you talk about tabletop, I think this is going to
be more like marbles, that we're going to be trading
marbles about which, in fact, goes together best -but I would stick with my suggestion of Clad No. 1 and
No. 3.

Those would be my two tops.
MS. LANNIN:

Thank you, Dr. Brown.

Donald Scarinci.

Donald, are you

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around?
MR. VAN ALFEN:

Mary, he doesn't seem

to be in his chair at the moment.
MS. LANNIN:
noticing that.

All righty.

Thank you for

Why don't we go back to him, and I'll

do Art Bernstein next.
MR. BERNSTEIN:

Hi.

This is Art

Bernstein.
When I look at Clad Pairing 1, I love
the obverse with the ball that is flying across the
coin.

It just draws my eye to that baseball.

not attracted to the reverse on that pairing.

I was
I don't

know if this is a common technique, but having two of
the players partially cut off, to me, looked -- I know
it's not a mistake, but it looked like a mistake to
me, that those two guys didn't quite get in the
picture.

But I did like the obverse on Pair 1.
On Pair 2, I was glad to hear other

people were attracted to those logos.

My first

thought also was that it was busy, but some of those
are just so cool.

I'm really curious about those

three Bs and that -- each of those designs.

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on the obverse there was the inclusion of the
transport, which we didn't see on any other designs.
So I'm intrigued by Pair 2, and that's certainly going
to get some of my votes.
Like most of the others, I also like
Pair 3 and the fact that the phrasing "THEY WENT TO
BAT FOR CHANGE" ties right in with the bat.
just thought that was a great combination.
MS. LANNIN:

And I
Thank you.

Thanks, Art.

Mike Moran.
MR. MORAN:

I hate that mute button.

You're playing with that thing, and everybody's
wondering, what, is he asleep?

No.

And this is

Mike Moran.
So we've talked about 3.

Three's good.

I really do like the concept of the hands on the bat.
I remember doing that, and the one at the top had to
be able to throw it out to second base.

And if you

couldn't, the other team got the first at bats.
But No. 2, I want to talk about it for
a second.

It's not often in my time here on this

Committee that I've seen the culture of an entity -- I

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guess I would call this an entity -- of a band of
brothers -- I'll say it that way -- so compactly put
on a coin.

You've got the player on the obverse with

the bus transportation.

They probably slept on that

bus, too, for what it's worth.
And then you flip it over to the back
side and you've got the -- I love the fonts, but
you've also got the team symbols.
those.

I've never seen

And they're just part of the history.

just engrained in it.

They're

It's part of the life blood of

the Negro Baseball Leagues.

So I'm going to put my

votes on it, knowing that I probably am being overly
sentimental to do that.

And then we'll go from there.

That's it, Mary.
MS. LANNIN:
Mike.

All right, thank you,

Thank you.
All right.

Do we have --

MS. STAFFORD:
MS. LANNIN:

April Stafford.

Madam Chair?
-- Kotlowski with us?

MS. STAFFORD:

Yes?

MS. STAFFORD:

I'm sorry.

This is

Since so many Committee members have

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commented on Clad Pair 2, I wonder if just for the
record if we could just take a look at that, and I
will share the design description, because Mr. Moran
is correct.

In Clad Pair 2, Obverse 2 depicts the

Negro Leagues' tour bus that served as their home on
the road when players were refused entry into hotels
and restaurants.

The batter exemplifies the

determination to play the game he loves regardless of
challenging circumstances.
While Clad Reverse 2 showcases the
logos of every team in the Negro Leagues, which is
represented with a Monogram that symbolizes the
solidarity of the organization and legacy of its
teams.
Mr. Kendrick, can you confirm that the
depiction on Reverse 2 actually does showcase all of
the teams in the Baseball Museum, or is it a
collection of them?
MR. KENDRICK:
them.

It is a collection of

And it was a design that I actually liked.

thought the artist was clever in that.

I thought it

was -- with trying to use as many teams, it made it

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look busy on that reverse side.

And so one of the

suggestions that I thought when we were going over
these designs, when the Leagues were formed in 1920,
they were formed with eight teams.

And perhaps it

could be more cleaner if there is a way to focus just
on the eight original teams that started the Negro
Leagues, as opposed to trying to put all of those in,
which is not all the teams, but, as April mentioned, a
collection of teams.

That was my initial thought.

But I actually -- I really like what
the artist was trying to do, other than this concern
about the business on the reverse side.

The obverse

side, I think, is very powerful as well.
MS. STAFFORD:

Thank you, sir.

I

appreciate you adding that.
MS. LANNIN:

Thank you very much, Mr.

-Go ahead, April.
MS. STAFFORD:

No, ma'am.

I was just

going to say I appreciate the clarification that,
indeed, it's not every team; it is just a collection
of them.

I think that's an important note.

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MS. LANNIN:

That's great.

Is Donald

Scarinci with us?
MR. VAN ALFEN:

His chair still is

empty.
MS. LANNIN:
it's my turn.
like No. 3.

Okay.

So then I guess

I, with most of my colleagues, really
I think that it reminded me of all

baseball players start out with the kids in the
neighborhood, you know.
thing.

And they all do the bat

It just reminded me of young, young players

that, in going to watch players, that they hope to
emulate someday.
I liked the action.

I like the ball on

sort of the nine o'clock hour of the obverse.

And I

think he's going to make it home safe.
I also like No. 3 because I like the -I like the font on this one better than, I think, 3A.
So I'm going to put votes on -- definitely on 3.

But

I like Mr. Kendrick's suggestion that if we take No. 2
and use the logos of the original eight teams and ask
the artist to do that, that that actually puts Clad
Pair No. 2 into contention.

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So those are my thoughts.
So now we can have our discussion where
we do horse trading.

And we'll talk --

MR. WEINMAN:

Want to score --

MS. LANNIN:

-- I don't know what else

MS. LANNIN:

I'm sorry.

to call it.

MR. WEINMAN:

What?

This is Greg.

Do you

want to score the designs first and then use that data
as you make some recommendations?
MS. LANNIN:

Yeah.

Yeah.

Okay.

I

just didn't know if anybody had an impassioned
argument before we were ready to score that might make
the after-talk a little bit easier.

Okay.

So we

will -MR. WEINMAN:
MS. LANNIN:

-- scoring -Okay.

It is 2:25.

I

think that this is going to be kind of complicated
scoring.

So, Greg, is 10 minutes enough, or is that

not enough time?
MR. WEINMAN:
least 15 minutes.

-- probably need at

But it obviously all --

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MS. LANNIN:

Okay.

MR. WEINMAN:

That all depends on how

quickly everybody can give me their scores.
MS. LANNIN:
resume.

Okay.

It's 2:40.

We will

Please submit your score sheets to Greg.
DR. BROWN:

Mary, this is Lawrence

Brown.
MS. LANNIN:
DR. BROWN:
different suggestion?

Yes, Lawrence.
May I give a friendly but

Because I think that no

matter -- based on the conversation, no matter how we
score, that is likely we're going to be doing some
horse trading.

Because, based on our experience, my

colleagues are going to be talking about different
combinations.

So I would probably like to suggest

that we, in fact, take a motion from any of the
members to say what combination they think would be
more likely.

But that's -MS. LANNIN:

Lawrence, I think we need

to see how everything scores.
in that matter.
No. 2.

I think Greg is correct

We might be surprised what comes in

Okay?

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DR. BROWN:
MS. LANNIN:

Okay.
All right.

So if

everybody -MR. MORAN:

Mary, this is Mike Moran.

I second your motion.
MS. LANNIN:
MR. MORAN:
MS. LANNIN:

Thank you.
I agree we need to vote.
So everybody score,

please.
MR. WEINMAN:

We'll try and make this

as efficient as possible.
(Off the record.)
MR. WEINMAN:

By the way, I have

actually been to the Negro Leagues Baseball Museum in
Kansas City, and it is truly amazing and well worth
the visit.
With that in mind, yes, I have scores
for you.

Let's start with the gold.
MS. WARREN:

is Jen.

Wait a minute, Greg.

This

Could everyone who is not talking mute their

mic, 'cause there is back wash and I don't know if the
transcriber can hear you.

Thank you.

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MR. WEINMAN:

Can everybody hear me?

If so, let me -- it's a little tricky.
second.

Gold:

No. 2 has two points.

No. 4 has seven points.

Pair No. 1 has 21

No. 3 has five points.

No. 5 has 24 points, making

it the high vote getter, but not by much.
five points.
read this.
sorry.

No. 7 has -- pardon me.

Sorry.

Yes, No. 6 has five.

No. 9A has 10 points.
has three points.
three points.

Sorry.

Sorry.

And No. 9 has three points.
No. 10 has four points.

11 has three points.

And 12 has

Reverse No. 1

Reverse No. 3 has eight.
Reverse No. 5 has 18.

Reverse No. 7 has two.

Reverse 8 has four.
has seven.

10A

Those are the obverses.

has 24 points, making it the high score.

has seven.

Yeah,

No. 7 has three.

For the gold reverse:

2 has five.

No. 6 has

It's hard to

One quick second.

No. 8 has seven points.

two.

One

Sorry.
Okay, ready?

points.

Hold on.

Reverse No.

Reverse No. 4

Reverse No. 6 has

Reverse No. 7A has two.

Reverse 9 has six.

Reverse 10

And reverse 10A has three.
Moving on to silver.

One moment.

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Okay.

Silver Obverse No. 1 has 33 points, a perfect

score.
nine.

No. 2 has five.
No. 5 has four.

three.

No. 3 has eight.
No. 6 has five.

No. 8 has three.

No. 4 has

No. 7 has

No. 8A has eight.

six.

No. 10 has two. No. 10A has two.

two.

No. 12 has three.

No. 9 has

No. 11 has

Moving on to the silver reverses.
Reverse No. 1 has 33 points, a perfect score.
No. 2 has six.

No. 3 has four.

No. 5 has four.
six.

No. 4 has three.

No. 6 has eight.

No. 6B has four.

No. 6 down A has

And No. 8 has five.

Moving on to the clad.
Okay.
15.

Obverses:

One moment.

No. Obverse 1 has 11.

Obverse 2 has

Obverse 3 has 17, making it the high vote getter

but obviously not by much.
two.

No. 4A has two.

one.

No. 9 has one.

No. 3A has six.

No. 6 has three.

Reverses in clad:
nine.

Reverse No. 2 has 15.

has two.

No. 5A has two.

No. 4 has

No. 6A has

Reverse No. 1 has

Reverse No. 3 has 17,

making it the high vote getter.

one.

Reverse

No. 4 has one.

No. 6 has five.

And No. 8 has one.

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No. 7 has

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And those are the scores.
MS. WARREN:

Mary, this is Jennifer.

I

just want to make a public service announcement before
we move forward.
For particularly Mint employees in
regards to the audio and video issues with Webex
today, there probably will be an issue tomorrow as
well.

There are a couple of ways to work around it.
First of all, you can dial into the

bridge line like you're doing today.
personal computer.

You can use a

Or if you are not working at a

Mint location, you can turn the VPN off of your
computer, and it should work.

Our understanding is

everyone else can verbally see each other and hear
each other through the computer and everyone can see
the designs.
So I just want to bring that up.

And

for anyone who has a liaison or something, in case
they run into problems in the morning, or anybody
that's a CCAC member, if you start having a problem,
remember to call in to the break line.
to send that out.

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MS. LANNIN:

Thank you, Jennifer.

All right, ladies and gentlemen, let
the horse trading begin.

In the interest of keeping

this as clean as possible for the transcriber and
eventually for me who's going to have to write all
this up, I would like to ask somebody who's very
strongly opinionated about -- Mike Moran, who started
the ball rolling.

And, gee, what an example; right?

If Mike Moran could begin by giving us his thoughts
and making a motion, then we can react to that and I
can call on everybody else as necessary.
MR. MORAN:
lamb, Mary.

I guess I'm the sacrificial

This is Mike Moran.
MS. LANNIN:

You're it.

The designated

hitter.
MR. MORAN:

The designated hitter.

Let's leave the silver dollar alone.
what they've got.

It's 33.

Everybody likes

Don't mess with it.

The votes were more split on the clad.
And while I like both of those designs, I think that's
where we need to put Gold Obverse and Reverse No. 1.
I also want to respect the pairings that these artists

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have done ; therefore, I would not want to pair Gold
Obverse 5, which had the highest vote on the gold
coin, with Gold Reverse 1.
So I would propose to move that we
accept Gold Obverse and Reverse -- or Gold Pair 5 for
the gold coin and we use Gold Pair 1 for the clad
coin, and that we accept the votes on the Silver
Pair 1 for the silver dollar.
MS. LANNIN:

Thank you.

Be prepared to

recite that again.
MR. URAM:

I'll second that, Mike.

MS. LANNIN:

Okay.

Does anyone want to

make a friendly motion?
Dennis, did you have something to say?
MR. VAN ALFEN:
Alfen.

This is Peter Van

My motion is a little complicated.

I think

that maybe we should just start with some simpler
motions, maybe one of which is just to respect the
pairings -- obverse/reverse, but just to respect
pairings to begin with.
MS. LANNIN:

Who wants to second

Peter's motion?

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MR. TUCKER:

Peter, this is Dennis.

can -- I like that idea for two of the coins.
don't like it for another one.
can't

I

I

So that's why I

wholeheartedly support that.
MS. LANNIN:

Who -- I'm sorry, was that

Dr. Brown?
DR. BROWN:

Yes, Madam Chair.

I'm sorry, Dennis.

If you want to

complete your thought.
MR. TUCKER:
You can proceed.

Thank you.

Thanks.

DR. BROWN:
Madam Chair.

That was all.

This is Lawrence Brown,

So I really think that we really need to

vote on the motion that was seconded before we can go
to a new motion.
MR. VAN ALFEN:

I'm sorry.

I didn't

realize that Mike's had been seconded.
MS. LANNIN:
second it.

I didn't hear somebody

Maybe it's my -- I believe Tom seconded

it.
DR. KOTLOWSKI:
MS. LANNIN:

Tom Uram did.

Wait, wait, wait.

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guys, you can't just jump in.

Please tell me who

seconded Mike's original motion.
MR. URAM:

Tom Uram, second.

MS. LANNIN:

Tom Uram second, okay.

DR. KOTLOWSKI:
I'm sorry.
seconded.

Mary, this is Dean.

I was the one who jumped in and said Tom
I think it's a good idea.

hear it one more time.

I'd like to just

I think what Mike is proposing

is For the clad -Is it gold, Mike?

Is it Gold Obverse 1

and Gold Reverse 1 are going to be the clad coin; am I
correct?
MR. MORAN:

Yes.

Yes, that's correct,

Dean.
DR. KOTLOWSKI:

I find that very

sensible.

So we're not going to do any mixing and

matching.

The silver dollar is set, which is No. 1.

And then the clad is going to be gold.

And then the

gold coin is actually going to be Pair 5; right?
MR. MORAN:

Yes.

DR. KOTLOWSKI:
MR. MORAN:

Okay.

That's the motion that's

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been seconded.
MS. LANNIN:

Okay.

Repeat the motion

slowly for Natalie to get it down.
MR. MORAN:

Okay.

I move that we use

Gold Pair 1 Obverse and Reverse as the design for the
clad coin; I move that we accept the Committee's vote
on the silver as Silver Pair 1; and that we use Gold
Pair 5 Obverse and Reverse for the gold coin design.
MS. LANNIN:

Tom, you still second

that?
MR. URAM:

Yes, Madam.

MS. LANNIN:

Okay.

All in favor of

Mike's motion say aye.
MULTIPLE VOICES:
MS. LANNIN:

Aye.

Do we have any nays?

Seems like the motion passed unanimously.

Am I

correct
MR. MORAN:

Mary, I know you don't

drink, but you owe me a glass of wine for that one.
MS. LANNIN:
That's wonderful.
it.

I know.

I know.

You got us on time.

I know.

I appreciate

And I think that we came up with a really great

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birthday present for Mr. Kendrick.
MR. MORAN:

Sure.

MS. LANNIN:

Mr. Kendrick, are you

happy with what we did?
MR. KENDRICK:

Yeah.

And I just had

one quick question -- put Design -- 'cause I kind of
got a little lost -- so Design 5 that is currently in
gold is going to now be clad?
MS. LANNIN:

Design 5 of the Gold is --

virtual connectivity interruption -- the silver, which
is your big birthday present, because we never ever
give 33 points to anything -- the silver stays the
silver.

And the clad becomes what would have been

Gold No. 1.
MR. KENDRICK:

Okay.

So the one that

I'm looking at now is clad?
MS. LANNIN:

That's -- no.

The one

that you're looking at right now is the gold design.
MR. KENDRICK:

Okay, that will become

the gold design.
MS. LANNIN:

That's the gold design.

Roger, can you get us to the silver

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design so Mr. Kendrick can see them all?
This is your 33-point silver design,
which is fabulous.

And now we're going to show you

what the clad looks like.

That's your clad.

MR. KENDRICK:

Okay.

Okay.

MS. LANNIN:

All right?

MR. TUCKER:

Madam Chair -- virtual

connectivity interruption -- I think we should
discuss

how the denomination is treated.
MS. LANNIN:

Dennis, you need to say

your name first, please.
MR. TUCKER:

Oh, I did.

MS. LANNIN:

Oh, I -- we broke up.

MR. TUCKER:

This is Dennis Tucker.

Okay.
I

think we should have some discussion with Ron and Joe
about how the denomination will be fitted into the
Gold Pair 1 which is now a half-dollar instead of a
five-dollar gold piece.
MS. LANNIN:
MR. MENNA:
MS. LANNIN:

Okay.
This is Joe -Anybody else have

any

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comments?
MR. MENNA: Oh, I'm sorry.
MR. TUCKER:

Yeah, this is Dennis, and

I was just going to say maybe it's easy, maybe it's,
you know, quite simple and not -- you know, doesn't
need a lot of discussion.
it'd be a challenge.

But to me, it looks like

So I'll let you speak on that.

MS. LANNIN:

I'm not sure why you say

it's a challenge.
MR. TUCKER:

Well, we currently have

two characters, "dollar sign 5," and we're going to
expand that to two words, "HALF DOLLAR"; right?
MS. LANNIN:

We could move "THEIR

LEGACY PLAYS ON."
Ron or Joe, we could move "THEIR LEGACY
PLAYS ON"?
MR. MENNA:

This is Joe.

Yeah.

I

mean, I -- I -- I'll keep my two cents out of it as to
what I thought this would be a great design for.

But

I think if you take -- if you scoot "THEIR LEGACY
PLAYS ON" closer to the figure, you know, not so close
that it would cause a "coinability" problem, then you

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could fit with a font the same size as "E PLURIBUS
UNUM" you could fit "HALF DOLLAR" arcing underneath
"THE UNITED STATES OF AMERICA" text, and I'll you'll
be fine.
MS. LANNIN:
MR. MENNA:

Okay.
And then "FIVE DOLLARS"

just becomes negative space.
MS. STAFFORD:
MR. MENNA:

Right.

It would be easy.

MR. TUCKER:

Thanks.

MS. LANNIN:

Thanks.

MS. LANNIN:

Yes, April.

So should we

just --

MS. STAFFORD:

This is April Stafford.

I just wanted to ask -- not that I think it's an
issue, but I wanted to note:

Each one of the pairings

that you have identified contains the inscription
"NEGRO LEAGUES BASEBALL" with the exception of Silver
Pair 1.

I didn't know if that was an issue.

It does

have the abbreviation for the museum, but I just
wanted to point that out, in case Mr. Kendrick had a
thought on that or the Committee had a concern.

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MS. LANNIN:
mentioning that, April.

Thanks so much for

Actually, I really kind of

like the initials on the pennant.

It kind of gives --

to me, it's part of the joyousness of sitting outside
on a sunny day and watching your team win.
Mr. Kendrick, is that design all right
with you?
MR. KENDRICK:
understand.

Yeah.

And I certainly

I'm glad April raised the point.

Obviously, NLBM is the acronym for Negro Leagues
Baseball Museum, where the other coins obviously look
at the general live history.

You know, so that's

really the only thing that I see, and I don't know if
it hurts the series or not.

I don't think it does.

It does give a nod to the museum itself, which I do
kind of like.
MS. LANNIN:
MR. KENDRICK:
MS. LANNIN:
together.

Exactly.

Exactly.

Yeah.
And it's marketed

So.
MR. KENDRICK:
MS. LANNIN:

Exactly.
Okay.

Exactly.

Lawrence is giving

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me the thumbs-up, so he likes it.
DR. BROWN:

I think that the solution

is market them all together.
MR. KENDRICK:
you're right.

I think that makes -Yeah.

No, I think

I mean, in the end, our goal is to hope

to try to sell these as collections, you know, even
more so than individuals.

But I'm sure that, yeah.

And now -- I think that when we were looking at this
and looking at the great work the artists did, we were
thinking about how we could put together a great set
of coins that people would not want to break up the
set.

And I think we hopefully have accomplished that.
MS. LANNIN:

Well, I think you did.

And, Mr. Kendrick, I've been on the Committee for
seven years, and I can only think of two other
instances of 33.

You got a perfect score on your

birthday.
MR. KENDRICK:
Okay.

Thank you.

Well, I believe we are finished

with our first commemorative set of coins.

Thank you

very much for spending all day with us.
MR. KENDRICK:

Guys, it's been my

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pleasure.

And thanks to each and every one of you for

your dedication, for your thought, your insight, and
your consideration to our program.
it's been a blast.

And, you know,

I've learned a lot.

And once

again, I want to tip my cap to all of the artists who
were involved, and the incredible team that I had a
chance to work with as we've moved to this point, this
stage of the process.

So thank you to all of you.

And, you know, I'm looking forward to how we continue
this and get prepared to roll this out next year.
MS. LANNIN:

Thanks so much,

Mr. Kendrick.
MR. KENDRICK:
MS. LANNIN:
Okay.
I lost my place.

My pleasure.
Bye-bye.

We have scored this wonderful --

All right, we move to our second

session of the day, which is the Merrill's Marauders
Congressional Gold Coin.

And --

UNKNOWN SPEAKER:

Congressional Gold

Medal.
MS. LANNIN:
Sorry.

Congressional Gold Medal.

I'm missing pages here.

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And, April, if you would like to begin,
introduce our guests.
MS. STAFFORD:

All right.

And if it's

okay, I'll give some background first on the program.
MS. LANNIN:
MS. STAFFORD:

Sure.
Public Law 116-170, the

Merrill's Marauders Congressional Gold Medal Act,
directs the Secretary of the Treasury to strike a
single gold medal with suitable emblems, devices, and
inscriptions to honor soldiers of the 5307th Composite
Unit (Provisional), also known as Merrill's Marauders,
in recognition of their bravery and outstanding
service in the jungles of Burma during World War II.
The 5307th Composite Unit Provisional,
CUP, known as Merrill's -- known as Merrill's
Marauders significantly advanced -Merrill's Marauders significantly
advanced the Allied Forces' effort to defeat Japan
during World War II.

Their success in the China Burma

India -Madam Chair, do you want me to go ahead
and continue, or wait a minute while people get

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settled?
MS. LANNIN:

-- we don't have anybody

joining us, but I would like you to continue, April.
MS. STAFFORD:

Okay.

Merrill's

Marauders significantly advanced the Allied Forces'
effort to defeat Japan during World War II.

Their

success in the China Burma India (CBI) during 1944
MS. LANNIN:

I'm sorry.

UNKNOWN SPEAKER:

Everybody mute their

phone.
MS. LANNIN:

-- altered the course of

the war in Asia.
UNKNOWN SPEAKER:
mute mic right now.

Somebody -- everyone

In your Webex.

UNKNOWN SPEAKER:

Okay, April.

I think

UNKNOWN SPEAKER:

No

UNKNOWN SPEAKER:

We're not.

UNKNOWN SPEAKER:

Everybody please mute

we're okay now.

your phone and your Webex.
MS. STAFFORD:
again.

Okay.

We'll try this

I beg our liaisons' patience with us.

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don't typically have this many technical issues with
our system.

So I am sorry about that.

Let me read

that last paragraph.
Merrill's Marauders significantly
advanced the Allied Forces' effort to defeat Japan
during World War II.
Burma

After success in the China

India Theater during 1944 altered the course

of the war in Asia.
The unit was the brainchild of
President Franklin D. Roosevelt and British Prime
Minister Winston Churchill.

At the 1943 Quebec

Conference, they created an, quote/unquote
"expendable," three-battalion, guerrilla force of
American volunteers assigned to British command to
fight behind enemy lines in Burma.

Approximately

3,000 infantry men answered Roosevelt's call for the
"dangerous and hazardous" mission, not knowing their
destination or objective.
The men who fought as part of Merrill's
Marauders volunteered from many ethnic backgrounds and
included a Native American code talker and 14 Nisei
interpreters.

Travelling with only what they could

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carry on their backs or on pack mules, they made
military history by walking almost 1,000 miles,
farther than any other WWII fighting force.

They saw

more uninterrupted jungle fighting than any World War
II military unit except the 1st Marine division at
Guadalcanal.

They were kept alive by C-47 airdrops of

ammunition, food, medical supplies, and grains for the
mules.
In fighting the enemy, the Merrill's
Marauders also battled the terrain, the weather, their
mules, and disease.

Many men were tagged "AOE,"

meaning they suffered from an "accumulation of
everything."

By the time the Marauders seized their

final objective, the all-weather airfield at
Myitkyina, the majority of the soldiers had been
evacuated.

Of the remaining 1,310 men, only about 200

were deemed "walking wounded" and returned to the
battle to hold the airfield.
During their campaign, the Marauders
never lost a battle or engagement against the
Japanese.

For their bravery, every member of the

Merrill's Marauders was awarded the Bronze Star and

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the Presidential Unit Citation.
In developing this portfolio of
candidate designs, the Mint worked closely with a
group of liaisons that included Gilbert Howland and
Robert Passanisi, two surviving Marauders, to identify
appropriate concepts and ensure historical accuracy
and appropriateness.
On the phone with us today are liaisons
Robert Howland, John Passanisi, and Travis West, who
is President of the US Army Ranger Association.
Mr. Howland and Mr. Passanisi
represented their fathers, both of whom are surviving
Marauders:

Gilbert Howland and Robert Passanisi.
So let's first start with you,

Mr. Howland.

Would you like to introduce your father?
MR. HOWLAND:

Can you hear me?

MS. STAFFORD:
MR. HOWLAND:

Yes, sir.
Can you hear me?

Yes?

You can hear me, okay, great.
Yes, my dad, Gilbert Howland, served in
the Army for 30 years, from 1941 to 1971.

He

voluntarily entered the Army before Pearl Harbor, and

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he was in Panama and -- where he received jungle
training, and then ended up in Trinidad for more
jungle training, and then went on to Puerto Rico on
the way back to the United States, when somebody
showed up from the Department of Defense and was
looking for volunteers.
And 125 men, of which he was one,
volunteered from his 33rd Regiment.

And then he went

on with them to India and then, finally, to Burma.

He

was a member of the 2nd Battalion Green Combat Team.
He was a machine guns section leader with two squads,
16 men.
After the war, he went on to be on the
Morgan Line in Italy, keeping the Yugoslavians out
of

Trieste until they figured out who would get

what part

of Italy.
He then went on and fought in Korea.

He was in the Pork Chop Hill section.

And he did

to combat tours in Vietnam from 1966 to 1969, before
he retired on December 31, 1971.
He has, obviously, three Combat
Infantry Badges; he's a member of the Ranger Hall of

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Fame; and he's with us and one of seven surviving
Marauders.
MS. STAFFORD:

Thank you so much,

Mr. Howland.
And Mr. Passanisi, would you like to
introduce your father?
MR. PASSANISI:
MS. STAFFORD:

Can you hear me?
Yes, sir.

UNKNOWN SPEAKER:
MR. PASSANISI:
Passanisi.

Yes.

Okay.

My name is John

I'm the son of Robert Passanisi.

My dad

volunteered for the United States Army at the age of
17.

He was in a single company getting -- being

prepared to go overseas into Europe when the call came
down for volunteers to a dangerous and hazardous
mission.
He volunteered, and he was the only
person from his unit that did so.

He moved to the

West Coast where they were put on a ship -- lower
line, and they picked up the parts of the unit from
the South Pacific and went on to India where they did
the training.

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Dad was with the 1st Battalion (not
audible).

He was a radio specialist, radio repair

specialist, from the Signal Corps.
war,

And after the

he went and got his GED and went on to earn a

master's

degree in electronic engineering.

is also a

And he

member of the Ranger Hall of Fame in the
MS. STAFFORD:

25th Class.

Thank you so much,

Mr. Passanisi.
We should also have with us, I believe,
Travis West, president of the US Army Ranger
Association.
West?

Mister West, are you with this?

Mister

You might be a mute.
Okay.

I don't believe Mr. West has had

an opportunity to join us as yet.

So, Madam Chair, I

can go through the obverse and reverse designs, if
you'd like.

Madam Chair?
MS. LANNIN:

I'm sorry.

Mr. West is

with us now.
MS. STAFFORD:

Oh, okay.

Mr. West,

would you like to say a few words?
MS. LANNIN:

He may be muted for some

reason.

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April, why don't you go through the
designs, and then we can talk to Mr. West after we've
gone through the designs?
MS. STAFFORD:

Yes.

Great idea.

And -MR. WEST:
a microphone issue.

April -- I apologize.

I had

Are you able to hear me now?

MS. STAFFORD:
MS. LANNIN:
MR. WEST:

Yes, sir.
Yes, we are, Mr. West.

And I think that you were

just asking April to go through the designs.

Would

you like her to do that, or would you like me to do a
quick introduction?
MS. LANNIN:

You can do a quick

introduction.
MR. WEST:

Okay.

I apologize for the

technical difficulties on my end.
My name is Travis West.

I am the

current president of the US Army Ranger Association.
I was recently reelected to that position in July of
last year.

I previously served in this position from

2014 to 2018.

I think when you add it all up, I am

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the longest-serving president of the Association since
it was first formed in 1973.
On the personal side, I had service in
the 75th Ranger Regiment from 2001 to 2004.

The US

Army Ranger Association is the oldest continuously
existing organization dedicated to the -- to rangers
from all eras and all conflicts.

We were founded in

1973 by a group of World War II rangers in association
with the folks that were -- ranger training camp
right at Eglin Airbase in Florida.
We are also a voting member of the
Ranger Hall of Fame, and I am very proud for the role
that we played in helping to get not just the two
Merrill's Marauders whose sons are present with us
here today into the Hall, but also several other
members of the unit over the years.
The -- the Ranger Association was asked
to be involved in this case is that we are an
organization that represents the interest of those
people who've graduated from the Ranger School, which
is currently operated by the Airborne and Ranger
Training Brigade, as well as people who have earned

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the right to call themselves a Ranger by virtue of
their service in the 75th Ranger Regiment.
Many of the techniques and tactics that
are still taught at the Airborne and Ranger Training
Brigade today come from the techniques that were
developed by the Merrill's Marauders during World War
II.

There is a direct tie-into the lineage there.
And then on a more formal basis, the US

department of heraldry within the Pentagon -- or -excuse me -- the Institute of Heraldry within the
Pentagon recognizes that the Merrill's Marauders are
part of the lineage of the 75th Ranger Regiment.

And

so they are revered and respected by both groups of
rangers that are currently serving with the United
States Army today.
MS. LANNIN:

Thank you so much,

Mr. West.
April, would you like to begin talking
about the designs, please.
MS. STAFFORD:

Yes, ma'am.

If it's

acceptable to you, shall I use the same approach where
I move through the portfolio and pause at the designs,

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reading the descriptions for the identified
preferences of our liaisons?
MS. LANNIN:

Yes, please.

That would

be great.
MS. STAFFORD:

All right.

to start with the obverse designs.

We are going

And I should note,

although, of course, our Committee understands, that
this is a medal.

And so many times obverses will be

used as reverses and vice versa.
So we'll start with the obverse
designs.

We have Obverse 1, 2, 2B, 2C, 3, 4, 5A, 5B,

and 5C.
Let me talk a little bit about Obverse
5C, as this is the preferred reverse design.

Let me

first read the description.
Five-C depicts the Merrill's Marauders'
patch positioned just below a Bronze Star, an award
every member of the unit received for their bravery.
The Burmese mountains and jungle appear in the
background.

The Marauders' five key battles

circumscribe the rim of the design.

The design also

includes the inscriptions "BEHIND ENEMY LINES" and

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"ACT OF CONGRESS" as well as the Combat Infantry
Badge.
Although 5C -- sorry -- does not
include the inscription "BEHIND ENEMY LINES."

It's

solely the Combat Infantry Badge, which can be seen at
the bottom of the design there.
The liaisons do differ, I believe, on
whether to include an image of the C-47 Skytrain
supply plane and parachutes in the space surrounding
the patch in the center of the design.
This was a modification that some of
our liaisons requested, and we checked with our chief
engraver.

He indicated that this design could

accommodate those additions.

But I believe that there

are also part of our liaisons that -- representatives
from our liaisons that don't necessarily feel that
this is a necessary adjustment.
So can I first ask, Mr. Howland, would
you like to comment on the potential inclusion of
this?
MR. HOWLAND:

Yes.

So my -- if you

look at the history of the Marauders campaign, the

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reason why they were able to operate deep behind enemy
lines was because every 3 to 5 days, approximately,
they were resupplied from the air with all their
necessities -- food, ammo, green for the mules -- as
they moved behind enemy lines for four continuous
months.

So number one is there is no way the mission

could have succeeded without those airdrops.

Also,

members of Merrill's Marauders were part of the air
crews kicking those supplies out.
Secondly, at the key battle of Nhpum Ga
in which the Second Battalion was surrounded for
approximately 12 days by the Japanese, they were
resupplied from the air by these same C-47s,
basically, within a 200- to 400-yard area, they were
dropping supplies to them so they could fight off the
Japanese.
My dad was in the 2nd Battalion, in
that battle, was wounded, and basically says they
would not have survived without those airdrops, nor
would the mission have succeeded without those
airdrops.

So he feels strongly that that's something

that should be represented somewhere on the medal.

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MS. STAFFORD:

Okay.

Thank you.

And

Mr. Howland, would you like to share your perspective?
MS. LANNIN:

That was Mr. Howland.

MS. STAFFORD:
Mr. Passanisi.

I'm sorry.

Apologies.
MR. PASSANISI:

No problem.

My dad's position and my also is that
we feel, although we respect Gil Howland's opinion, we
feel that the airplanes and the dropping supplies were
a support part of the mission, and there were other
support parts of the mission that are not being
represented, of the medical people that were there,
the Piper Cub type airplanes they came in and
evacuated the severely-wounded soldiers.

There are

other things that we feel, the support issues, are
just as important to the success of the mission.

We

looked at it more from the point of view of expressing
the entire mission, not to highlight any of the
individual support areas, but highlight and express
the entire mission.
Bob and I and our fathers, I think,
pretty much have agreed -- and Bob can confirm it with

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me -- that we respectfully disagree on this, but we
are willing to let the designers and the engravers
make the final decision on it because we could not
come to a conclusion between us.
MS. STAFFORD:

Okay.

Well, I think you

mean the Committee, the Federal Advisory
Committee's -- their recommendations on it.

Yes, sir.

And I think the Committee stands ready to weigh in on
it.
But first, you know -- the advantage of
having multiple liaisons that we are required to work
with -- we also have Mr. West.

So, Mr. West, I would

be remiss if I didn't ask you to also weigh in on this
question.
MR. WEST:

Sure.

opportunity to have a say.

I appreciate the

The -- my position and the

Association's position has been that -- our goal all
along is to make sure that we end up with a final
production that the guys who were on the ground back
during the mission would be proud of and be excited
to

receive.

of put

And it's unfortunate that we're sort

in this position to weigh in when there's a

difference

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of opinion between both of them.

I certainly respect

the Howlands' position and the Passanisis' positions.
They -- both of those gentlemen are legends, in my
view.
When I think about this, if asked to
weigh in, we would probably favor including the C-47s.
I do appreciate what John is saying in that it does
sort of highlight one aspect of the support mission
over -- potentially over some others that may not have
been as prominent.
The flipside of that, though, is I see
it in a similar light to another famous battle from my
day, which was the Battle of Mogadishu, which has now
become known as Black Hawk Down.

It was the Rangers

and it was the Delta guys on the ground that were
really involved in that mission.

But were it not for

the Black Hawks that were involved -- that has sort of
become, you know, one of the symbols that is
associated with a mission, even though it wasn't the
primary focus of what was going on that day.

And I

think that, as somebody who wasn't there all those
years ago and when I think about the work that those

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men did in the jungles in Burma, from an outsider's
perspective, you know, it's hard to separate it from
the airdrops that were going on at the same time.

So

we would be in favor of including them, again, if
forced to take a position on it.

I do regret having

to kind of be a tiebreaker here, but that's kind of
where we come down.
MS. STAFFORD:

Oh. Well, and I hope you

don't feel like we put you in a difficult position.

I

will share, Mr. West, that this is actually not an
uncommon thing.

Just the question of how far do we go

with including elements that might be representative
of any single subject matter, our liaisons, whether
there's a single one or a group of liaisons, they
often have to wrestle with that.

So, really, we're

very lucky in this case to have multiple liaisons that
we were asked to work with, because all of these
disparate perspectives will -- to build a picture that
this Committee can use in making their recommendation.
So I will pause there and, if it's
okay, Madam Chair, and ask if any CCAC members have
any questions about this particular item for any of

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our liaisons before moving on to the remaining
portfolio?
MS. LANNIN:

Does anyone have any

questions?
DR. BROWN:

This is Lawrence Brown.

MR. MORAN:

Mary, this is Mike Moran.

MS. LANNIN:

Please wait.

Lawrence

beat you, Michael.
MR. MORAN:

Okay.

Lawrence, you got

did.
MS. LANNIN:
DR. BROWN:

-- Dr. Brown.
Yes, I was wondering if

Mr. West at some point would say something to the
Committee that gives us -- distinction between the
special units of rangers, the fact that Green Berets,
I think, came after, and the Navy SEALs.
that

I think

helps the the public to really appreciate the

specialty

of this force at this time of history.
MS. LANNIN:
MR. WEST:

Thank you.

Happy to do so.

MS. LANNIN:
MR. WEST:

Great idea.

Go ahead, Mr. West.

So in World War II, there

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were two groups that were -- two groups that are now
considered to be part of the Ranger lineage that
fought.

You had 1st through 5th Battalions that

operated in the European theater, and then you had 6th
Battalion and the Merrill's Marauders that operated in
the Pacific theater.
Rangers were, and to a certain extent
are, considered to be sort of a super form of
credentials, at the end of the day.

They are all

infantrymen -- or they're mostly infantrymen to begin
with , and then they are given additional training
that goes above and beyond what the average
infantrymen does.
The Green Berets were formed later.

If

my memory serves, they came around in 1962 to '63.
The -- is a little bit different.

Whereas rangers

historically, you know, going back to French and
Indian War are unconventional warfare troops that are
intended to range, meaning to walk on foot for long
distances out to beyond the front lines or what are
thought to be the front lines of whatever the conflict
is.

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Green Berets were developed with a
less-direct action mindset or mission set.

Their

intent was to also engage in guerrilla warfare but
more with the intent of working with the indigenous
population to develop forces that could then be used
to combat whoever the bad guys were in that particular
conflict.
A great example of that is in the
Vietnam conflict, the Green Berets worked with and
develop to military forces and militias that would
then be used to fight against the Viet Cong.
Very similarly in my day and age, the
Green Berets worked with Afghanis to form militias
that we used to fight against the Taliban and against
Al Qaeda elements that were in Afghanistan.
The Green Berets did not exist during
World War II, and so there is a little bit of a
disconnect.
II.

The Navy SEALs did exist during World War

They had much more of a waterborne focus during

much of the conflict in World War II.
They were primarily used, although not
exclusively, for the purpose of scouting out beaches

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so that when other forces would come on afterwards,
they would know where to land and where to drive the
tanks up onto the beaches and things of that nature,
what sort of obstacles that they would have to deal
with coming up at the other end.
Other types of special forces units
that currently exist, including the Air Force PJs, the
Air Force Combat Controllers, Delta Force, and units
of that nature, most of them did not come about until
much later into the '70s -- virtual connectivity
interruption -- them were developed coming out of
Operation Eagle Claw, which was the failed mission
going into Iran, when the United States Government
realized that, one, we needed to have units that had
greater specialization in certain areas and, two, we
needed to have a mechanism by which those units would
communicate with each other better in order to avoid
the tragedies that we had during that particular
operation.
So looking at the -- that's sort of the
lay of the land when it comes from a very -- level
when it comes to the special operations forces that we

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have.

If you look at why the rangers in particular

are probably most closely affiliated with the
Marauders, frankly, they were the primary special
operations unit that existed at that time.
And they have continuously existed
throughout history because the United States
Government, prior to -- would often disband their unit
whenever they were -- they would create them when they
were needed, and then they would disband them
afterwards.

And, in fact, they continued to do that

following World War II up until the early '70s.
And so -- but the rangers have been
around for the longest out of all those units.

And

their mission set is probably mostly associated with
what the Marauders did in World War II.
MS. LANNIN:

Thank you so much.

MS. STAFFORD:
MR. WEST:

Thank you so much.

Sure.

MS. LANNIN:

April, would -- he had a

question, Michael Moran.
MS. STAFFORD:
MR. MORAN:

Okay.

Yes, do I.

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For the

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sponsors, in looking at your choices for the reverse,
when are 5C and 6 of the obverse designs, I'm struck
by the fact that No. 7 appears to address some of your
concerns about what you'd like to see on the reverse,
and I would like to know what objections you had with
No. 7 when you chose either 6 or 5C as your
preference?
MS. STAFFORD:

Mr. Moran, I just want

to confirm that I had mentioned to you earlier that on
an initial review, Obverse 6 received some favorable
responses -MR. MORAN:

Okay.

MS. STAFFORD:
not a formal preference.

-- but ultimately it was

It is Obverse 5C that the

liaisons have all agreed on would make the best
reverse design.
MR. MORAN:

Okay.

let's focus on 5C and 7 then.

Well, can I ask --

You certainly -- you

get the C-47 and the airdrop in 7, but you lose some
elements, design elements, that we have that are
prominent in 5C.

And --

MS. LANNIN:

Mike, let's let everybody

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else weigh in.

Okay.

And let's let --

MR. MORAN:

Okay.

MS. LANNIN:
what she's doing here.

Well --

And let's let April finish

Thank you.

MS. STAFFORD:

And, actually, if it's

okay with our liaisons, I'll take a stab at answering
Mr. Moran's question, and then I'm sure that we'll
circle back around to it.
But you're right, Mr. Moran, there are
several significant elements in 5C that are not
represented on 7 that makes 7 -- make it not a
preference.

Was very important, that I've learned

from our liaisons, is to include the campaign, which
is the around the rim, again, the Combat Infantry
Badge as well as the Bronze Star are also really
important.

I mean, each of these elements, the full

name of the theater "CHINA BURMA INDIA THEATER" are
all working in 5C to build that more complete picture.
I do know that our chief engraver, we
shared the idea of adding in a plane and parachute,
even however small or as a silhouette, to answer some
of our liaisons' requests.

We wanted to even know if

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it was possible.

So if it's okay, may I ask our chief

engraver Joe Menna to weigh in on this?

And what he

might suggest for 5C, how is the composition might
need to be adjusted?
MR. MENNA:
speaking.

Hey, April.

Joseph Menna

In between the word "CHINA" and the shield

and between the word "THEATER" and the shield, that's
where I'd put the request -- virtual connectivity
interruption -- down.

Possibly, you could even have

them coming from, like, behind, if you want.
But, you know, I wouldn't do anything
that would sacrifice the organization of the -- I
think the September-August text -- a really good
horizontal with the wavy line of the mountains and
also just helps -- virtual connectivity
interruption -And the Arc of the "CHINA BURMA INDIA
THEATER" also, I think, needs to stay there just for
structural reasons.
sure.

We could accommodate that, for

Thanks.
MS. STAFFORD:

All righty.

sum --

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MS. LANNIN:

April, would you like to

continue?
MS. STAFFORD:

Yes, ma'am.

And just to

sum up, 5C is the preferred reverse, and it sounds
like three of our five liaisons agree that the
inclusion of the plane and the supply drops would be
there preference.
So I'll move on to Obverse 6, Obverse
7, and Obverse 8.
Moving on to the reverse designs.

We

have Reverse 1, 2, 3, 4, 5, 6, 7, 8, 9A, 9B, 9C, 9D,
10, and Reverse 11.

Reverse 11 displays a group of

Merrill's Marauders crossing a river in Burma, with
the foreground muleskinner leading a pack mule.

This

design is the preferred obverse design, and the
liaisons all agree on including "5307TH COMPOSITE UNIT
PROVISIONAL," which is the group's official
designation, perhaps parked under "MERRILL'S
MARAUDERS."
And Madam Chair, that concludes the
candidate designs.
MS. LANNIN:

Thank you so much, April.

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This is sort of a mixed-up day.

Mr.

Howland and Mr. Passanisi and Mr. West, it's been a
challenging day technologically.

So we're going to

try and do the best we can here.
I would like to pick on Tom Uram to
begin, please.
MR. URAM:

Thank you, Madam Chair.

Tom

Uram here.
Robert, John, Travis, thank you for
being with us.

And, Robert and John, thank you for

the service of your fathers and so forth in regards to
this mission and so forth.
I think April mentioned that we have
had the situation before when we do have stakeholders
and different expectations, different thoughts.
that's all good.

And

I will just tell you that you can be

assured that after the Committee's discussion and
final decision, that you'll have a medal that you can
all be proud of, that all those that were involved can
be proud of, and one that will exemplify the mission.
So as we go through this, I think a lot will be
demonstrated regarding the medal and the importance of

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the medal.
So with that being said, I looked at
this portfolio a little bit differently.
the artists have some great designs.

And I think

But I'm kind

of -- switch gears here a little bit from my opinion
here.

I'd like to just look at Reverses 1 and 2.

The

reason I'm looking at Reverses 1 and 2 is I think that
those who would be great obverse is.
I do like No. 11 that was chosen.
could be an obverse as well.

It

But I particularly like

No. 2 because of the silhouette.

And as you know, we

have done a medal similar to this in the past and how
well it turned out.

But the silhouette versus the

darker version, the silhouette is like, we were once
there.

It tells the story that there are souls that

are there that were there, and the silhouette of
Reverse 2 really says that.
So I'm leaning more toward the Obverse
being Obverse R-2, being the reverse.

And then

teaming it up with either your 5C that you like with
the additions of what Chief Engraver Menna said could
be done.

I think Chef Engraver Menna mentioned about

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being able to put the other elements within this
medal.
I know it doesn't represent all the
mission that was brought out.

I know that, John, you

felt that there were other supports that were
available.

But at least it'll help tell the story,

and more can be told when people have the medal.
would know that there were support, though.

They

We

obviously can't recognize them all, but it's a start.
If we don't do that on 5C, then I would
look at No. 7 that we had talked about.

'Cause 7 was

actually my first choice until I heard Chief Engraver
Menna mention that we could do that to 5C.

So I would

concur 5C with the adjustments to the medal.
Otherwise, I'm leaning towards Obverse 7 as the
reverse.
So, Madam Chair -- is Reverse 2 as the
obverse and a modified 5C as the reverse.

Thank you

very much.
MS. LANNIN:

Thank you so much.

I know Dr. Brown would like to add a
thought.

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DR. BROWN:

Yes, Madam Chair.

This is

Lawrence Brown.
And, gentlemen, please, in fact, let me
note -- let me tell you -- and thank you for the
service of yourselves, all your fathers -- as a
brother in arms, I served in Vietnam.

So that's one

of the reasons I asked the question about the
specialties forces.

And I do understand what it means

to win a Bronze Star, so in the interest of full
transparency.
I, Madam Chair, would like to throw my
weight behind, I believe, the requested favorite
designs by our sponsors here, and that is, in fact,
Obverse 1 and 2A.

I also like Obverse 5C and Obverse

8.
But I also still like the Reverse of 1,
and I love Reverses 10 and 11.
Thank you, Madam Chair.
MS. LANNIN:

Thank you so much,

Dr. Brown.
I'm going to go Chairman's privilege
here, because I have chosen designs that I think,

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similar to what Tom said, that I'd like the rest of us
to think about as we look at all these designs.

And I

want the liaisons to have time enough to think about
what I'm saying.
I think as an obverse, either Reverse
No. 1 -- virtual connectivity interruption -- Reverse
No. 1.

Okay.

Reverse No. 1 or Reverse No. 2.

And so

I would like the liaisons to focus on two things:
Focus on the mountains in the background and focus on
the river behind them.

Okay?

Now, just think about

those two things and understand that Joe Menna can do
absolute magic with stuff at the Mint.
The reverse, which I think is going to
appeal for what we want for airborne, is -- I want for
this reverse, I want Obverse 7.
here, look what we have again.
and look at the water.
seamlessly.

So

Look at the mountains

Joe can make that flow

The mountains can go from one side of the

medal to the other.

The river can go from one side of

the medal to the other.
so necessary.
making.

There we go.

You have the plane that was

You have the airdrops that they were

And you have the Merrill's Marauders

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insignia.
And I think it's clean, it tells your
story, it's got the necessary -- if we need to move a
little bit of wording around, we can do it.

But if we

just look at the river and the mountains and know that
Joe can make those very similar, obverse and reverse,
I think you and with a beautiful medal when you're
done.

So I just wanted to give you time enough to

think about that.
I would next like to talk to Sam Gill,
please.

Sam?

Okay, we'll go back to Sam.

How about Dean?
DR. KOTLOWSKI:

Thank you, Madam Chair.

I'm Dean Kotlowski speaking.
Yes, I hope everyone can hear me.
There seems to be a little bit of background noise.
But, Mr. Howland and Mr. Passanisi, I want to thank
you so much for your service to our country in World
War II.

And it's wonderful to be able to honor that

service and sacrifice.
And I just wanted to echo what my
colleagues and our committee chair, Mary Lannin, said.

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Reverse 1 or 2 would work wonderfully as an obverse.
I hope you all think about this.

I don't want to put

pressure on you, but it is very similar to the kind of
coin that we did for a group of women called the
Hidden Figures mathematicians in the Space Program.
And from what I remember, the liaisons were very very
impressed with that design of that coin.

So I really

think that that is my -- I don't think -- I know that
that's really my favorite design.
I see Mary's point to No. 7, the
obverse which then becomes a reverse.

I think Mike

was talking about this a little earlier.
the parachute and the plane.

This gets

And if you can't do the

parachute and the plane, if you decide you want to go
with 5C -- and, again, just let me repeat:

Let's say

you do 5C and you don't put the parachute and the
plane, I think you can make a mention of the support
that was so vital and was provided in a written
statement or a card and make it part of the ceremony,
just so that you don't have too much going on.
But I like this design.
guys have a very good eye.

I think you

It reminds me of my

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grandfather in the European theater who got the Bronze
Star and also Combat Infantry Badge, and I think
that's wonderful.
The last point I want to make is in
terms of artistry.

Obverse and Reverse 1, let's just

take a look at that and may be applaud the artist here
just a little bit for the pretty intricacy and
intimacy of the design.

We don't often see that -- or

I don't remember seeing it a lot and service-related
coins and medals.
Of those are my comments, Madam
Chairperson.
shakes out.

I'm interested to see how this all
Thank you very much.
MS. STAFFORD:

This is Jennifer.

Please, everybody, mute your microphones.

We are

getting a lot of distortion.
Mary, you may have muted your mic.
Unmute it.
MS. LANNIN:

Robin Salmon, please.

MS. SALMON:

This is Robin Salmon.

MS. LANNIN:

Yes.

you hear me?

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MS. SALMON:
is really interesting.

All right.

This portfolio

And I struggled quite a bit

because I understand why the stakeholders want the
things that they want, the designs, the elements to be
there.

I also want it to be an absolutely beautiful

medal and a powerful medal.
The Reverse No. 2 is the one that
really drew me.

The design tells the story, for me.

I realize I wasn't there, but it -- from what I know
of the history of this particular operation, I think
it does encapsule at least a part of what won't, just
as many of these designs encapsule parts.

But I think

this is a beautiful and compelling design that still
gives the significance of what happened.
I also really liked many of the bamboo
designs in the reverse.

My father also trained in

Panama for -- had the jungle training, and that was
the only thing he would talk about was the -- all of
the bamboo.

So at least growing up, that's what I

have in my mind as far as the jungle.
However, I can certainly go with 5C as
the reverse and add the elements that were discussed

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to make that more complete.
So thank you, Madam Chair.
MS. LANNIN:

Thank you so much, Robin.

Do we have Sam Gill anywhere?
MS. LANNIN:

Mr. Gill, you may have to

hit star 6 to unmute yourself, in case you got hit.
MS. LANNIN:
Okay.

Sam?

How about we call on Donald

Scarinci?
MS. STAFFORD:

Mary, this is Jennifer.

Donald's not on the call.
MS. LANNIN:
Okay.

Oh, I'm sorry.

Dennis Tucker.

MR. TUCKER:

Thank you, Madam Chair.

This is Dennis Tucker.
And thanks to our liaisons for your
service and for the service of your fathers.
I understand the challenges that come
with finding agreement in a military Congressional
Gold Medal like this.

My grandfather-in-law was in

the United States Army forces in the far East as a
--

he was an officer in the Philippine

Constabulary and

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volunteered.

He was in the Medical Corps.

He ended

up becoming a prisoner of war.
So to try to capture an entire -experience would be very difficult.

But the

congressional Gold Medal for the Filipino veterans of
World War II had enough in the design that we feel
that he was well represented.

You know, it had

guerrilla and infantry officers, etc.

So it is a

challenge, and we do appreciate that.
Here on the Committee, we often talk
about the obverse of a Congressional Gold Medal being
the verb, showing the action, the men and women in
action and what they did during the war, and then the
reverse being the noun.

That's where you spell things

out, you give the names of battles and campaigns and
details like that.
I think you've made excellent choices
recommending Reverse 11 for the obverse and Obverse 5C
for the reverse.
completely.

I agree with those designs

I think they make an excellent medal, and

they do everything that a Congressional Gold Medal
needs to do.

And they do it well.

And I know that

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Joe Menna would be able to work wonders with the
addition of the symbolic elements of the airdrop plane
and the parachute.
Joe, I think about your "Fallen
Heroes"

of Pennsylvania 9/11 medal and how you can

take design
but still
not

elements and make them almost ghostly
visible and very much part of the design,

overwhelming or overtaking the rest of the

design.

So

I think that those will be added easily.
I'm not a big fan -MS. LANNIN:

Either that --

MR. TUCKER:

-- of silhouettes --

MS. LANNIN:

Sorry.

MR. TUCKER:

-- heroic Americans.

think the silhouettes reduce your humanity.

I

In the

coin and medal design, they obscure it and they make
it anonymous.
what
that

And that's the exact opposite of

we want to do with a Congressional Gold Medal
honors World War II heroes.
So I am not a fan at all of the designs

that show silhouettes.

I think that we need to show

these men in action as they were, and I think that

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Reverse 11 does that very well.
Thank you, Madam Chair.
MS. LANNIN:

Okay.

Peter van Alfen.
MR. VAN ALFEN:

Thank you, Madam Chair.

This is Peter van Alfen.
Before I began, I would like to thank
Mr. Howland and Mr. Passanisi for their service
and would like to welcome their sons as well to this
process, which I'm sure you're finding quite
interesting.
I have to agree with Tom and Mary.

I

do find Reverse 1 and 2 very compelling artistically.
They really drew my eye -- I really am quite drawn to
both of these designs as possibilities for and
obverse.
And I am really rather enchanted by
Mary's description of Obverse 7 as a reverse with the
continuity of the mountains going from one side to
another, and I think that

that would, in fact, make a

rather attractive medal.
Although because both of these obverse

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and reverses share similar inscriptions, we'd have to
change the inscription on one side or the other.

And

we might, you know, in that process, also, you know,
maybe on this obverse remove the jungle on the lower
portion and put in the Combat Infantry Badge or
something along those lines.
So those would be my preferences,
although I do find, you know, that the preferences of
the liaisons, 05 as a reverse, I think, would work
reasonably work with Reverse 11, I believe it was,
which was also the preference.
I think that those preferred obversereverse designs would work okay, but I don't think
that they would be as strong artistically as what Mary
and Tom have proposed or at least what Mary's proposed
with Reverse 1 and/or 2 and Obverse 7.
Thank you.
MS. LANNIN:

Thanks, Peter.

Art Bernstein, please.
MR. BERNSTEIN:

This is Art Bernstein.

With regard to the obverse, I would
like to go to the points that Dean was making about

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Obverse 1.

I was very attracted to this design.

my first reaction was that it was very busy.

And

But then

as I looked at it more, I found it to be beautifully
symmetrical.

You have to search for the details.

But

when you look at it carefully, you finally see that
there are three soldiers, there are three rifles, all
intertwined with that bamboo that Robin mentioned that
seemed to be so significant in terms of this series of
battles.

So I'd like some attention paid to

Obverse 1.
When it comes to the reverse, I thought
5C had a lot of what we're looking for, lots of
information conveyed.
theaters are on there.

The dates are on there.

The

The battles are on there.

As

well as that impressive Combat Infantry Badge and the
medal.

So that would be my vote for the reverse.

Thank you.
MS. LANNIN:

Thanks, Art.

Mike Moran.
MR. MORAN:
MS. LANNIN:

Am I last, Mary?
I think so, unless

somebody --

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MR. MORAN:

You put me in the woodshed.

I will give some points to Obverse 1
simply because I agree with what everybody's said.
And I think if you put a little relief for that front
soldier and the bamboo stalks there and put the laurel
wreath behind there, it'd be a very impressive medal.
But I'm also drawn to Reverse 1 and 2.
And I would suggest that when we vote, we combine 1
and 2 into a single vote to see where it goes, because
otherwise the two draw away from each other.
That's where I will be giving my votes.
I am afraid that when you look at Reverse 11 as an
obverse for this medal, you'll have the screen there
which is going to be effectively the negative space,
but you're going to lose a lot of detail of these
soldiers blending into the riverbank.
sky there.

There's no real

I know in the jungle there's not.

But

still, I'm not sure that this thing will coin up as
well as it draws up.

And that's a caution for you.

I am not going to, for the reverse,
oppose 5C.

I get it.

For the Bronze Star and the

Combat Infantry Badge, that's important.

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I would advise that rather than us
designing by committee, that we make a motion to
put a C-47

in here and a parachute drop, that the

sponsors ought

to look at a drawing from Joe Menna

first to make up their minds whether they want or
not.

I don't think it's our place to decide that.

It doesn't affect the
well, it could.

art one way or another --

It will have a negative effect if

it affects it at all.
So that's where I am, Mary.
MS. LANNIN:

Thank you, Mike.

Is Sam Gill with us?
MR. GILL:

Mary, this is Sam.

Can you

MS. LANNIN:

Oh, long-lost Sam.

Please

hear me now?

give us your thoughts.
MR. GILL:
all along.

I could hear -- I was here

It just -- something happened to the audio

on my phone.

So here are my thoughts:
I took a slightly different tack is

everybody is doing on this.

I looked at 2A as my

obverse because it still tells all the story; it has
the elements of this campaign.

And the mules were

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very, very important.

And it's got the airplane, the

C-47; it's got the parachutist coming in.
explains -- it's got the patch there.

And it also

And it explains

the Merrill's Marauders and so forth.
And then I too chose 5C as a reverse.
So that was my combination.

I could certainly live

with the sponsors' recommendations, but I liked the
symmetry in 2A and I liked very much 5C.
Thank you, Mary.
MS. LANNIN:

Thank you so much.

Well, I think we've finally heard all
of the Committee members now.

Does anybody else have

a further comment?
MR. HOWLAND:
MS. LANNIN:

You mean liaisons?
If the liaisons would like

to make a comment, go right ahead, Mr. Howland.
MR. HOWLAND:

I think we didn't like

the silhouette designs because we didn't feel it
was -- I think somebody else commented it didn't
really show the human aspect.
neutral.

It's kind of like human

I don't know what word to use.
And so we -- like, as soon as we saw

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that one, we didn't like it at all.
As far as the one with the soldiers
coming out of the jungle with the bamboo, that was one
that we considered, and also the one -- I believe it
was 2A that was just mentioned.
was another one we considered.
amongst the group.

Yes, that one.

That

But we had gone to 11

So, I mean, a couple things on 2A:

It says "5307th CUP."
reference to "CUP."

A lot of guys didn't like the
Like, what was that, a regatta or

something, you know?

Like, the whole unit should be

spelled out, "Composite" you know, "Unit Provisional."
But we did consider 2A.

We thought

maybe the soldier looked a little too skeletal, though
they are -- they were beat up at the end.

But 2A was

something we kind of look at.
But the silhouettes, I don't believe
any of us liked the silhouettes at all.

I don't --

John, what do you think?
MR. PASSANISI:
you.

-- and -- agree with

First, I'd like to say that all the artists did

a tremendous job.

I mean, all the renderings were

just absolutely beautiful, in my opinion, I mean.

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you could tell that a lot of work was put into it.
But, yes, on the R-1 and 2, we almost immediately
didn't feel that it expressed the mission of the
Marauders.

It just -- like Bob said, it left the

human element out of it.
And I'd like to ask the engraver, if
he's online, what he thinks that the 11, is that
feasible and can that image actually work on a coin.
I mean, if he's the one that's going to do the
engraving, then he is the one to ask.
MR. MENNA:
Let me clarify.

Hi.

This is Joe Menna.

I don't sculpt any of these.

I mean,

once -- I have sculpt a bunch of them, but not -- I
mean, when you guys are all saying, "I know Joe can do
a great job," it's the sculptors.
credit to the department.

I just want to give

It's not me.

I'm just the

coach; they are the players.
But this is eminently doable, and I
think it would be fantastic on a medal.
would be really cool, actually.
MS. LANNIN:

I think it

Thank you.

Thanks, Joe.

So I have a little information from

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Jennifer to everybody that the scores are going to
need to be sent to Roger Vasquez.

And it's Roger dot

Vasquez at the US Mint, V-A-S-Q-U-E-Z.

So we need to

get our scores down and send them in.
MS. STAFFORD:
MS. LANNIN:

And this is Jennifer.
It is 4:13 --

MR. BERNSTEIN:
MS. STAFFORD:

Mary, I --- and a -- in the chat,

Roger's e-mail, if you didn't get that.
MS. LANNIN:

Right.

MR. BERNSTEIN:

Mary, I have a rookie

question about scoring.
MS. LANNIN:

Yeah?

MR. BERNSTEIN:

If we like a reverse as

an obverse, we give that our most points even though
it's in the wrong -- on the wrong side -MS. LANNIN:

Yeah.

Yes.

And maybe

type next to it, if you can, Art, or scribble next to
it so we know what you're after.
MR. BERNSTEIN:
MS. LANNIN:
MR. GILL:

Okay.

Thank you.

Mary, this is Sam Gill.

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MS. LANNIN:
MR. GILL:

Yeah, Sam.

Just a quick question again.

Could you just repeat that?

Are we not sending this

to Greg?
MS. LANNIN:

No.

There's -- if you

look at the chat, you're sending to Roger Vasquez.
MR. GILL:

Oh, okay.

MS. LANNIN:
MR. GILL:

Got it.

can you see that there?

Yes.

MS. STAFFORD:

And, Sam, you should

have -MR. GILL:

V-A-S --

MS. STAFFORD:

-- an e-mail as well

with it.
MR. GILL:

Okay.

MS. STAFFORD:

An e-mail with it?

Yes, sir.

I sent it to

everybody about 15 minutes ago.
MR. GILL:
it.

Thank you.

I'll go look for

Thank you.
MS. LANNIN:

Thank you.

MR. PASSANISI:

Mary, could I just make

a quick statement?

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MS. LANNIN:

Who is this, please?

MR. PASSANISI:
MS. LANNIN:

Sorry.

John Passanisi.

Yes, John.

MR. PASSANISI:

I appreciate the

comments and the thought everybody has put into this,
but I just want to make sure that everybody takes into
account that the men that were actually there, two of
the men that actually were there, they're the ones
that both Bob and I -- our fathers -- that we relied
upon for the input in our opinions.

So I would just

ask all to kindly just keep their thoughts and
opinions before you make your final decision.
MS. LANNIN:

Okay.

Thank you so very

much.
Would you please mute your microphones,
please.
(Off the record.)
MS. STAFFORD:

Roger, how are we doing

on collecting the scores?
MR. VASQUEZ:

So far so good.

have a few more that I need to add in.
(Off the record.)

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MS. STAFFORD:

Okay, Dennis.

received it, and I forwarded it to Roger.
MR. TUCKER:

I just

Thank you.

April, I apologize.

I

accidentally sent you one of the earlier ones, and I
just send you the Merrill's Marauders.
MS. STAFFORD:
MR. TUCKER:

Okay.
It's always something,

isn't it?
MS. STAFFORD:

It appears that that's

the theme for today, yes.
MR. TUCKER:

Ain't we got fun.

MS. STAFFORD:

Okay, Dennis, you

received your second one.
Roger, that's on its way to you.
MR. VASQUEZ:

This is Roger.

Thank

you, April.
All right.
Roger.

Hello again.

This is

I apologize for the extra time that it took.

Because some people did score specifically as reverse
designs utilizing obverse designs and obverse designs
utilizing reverse designs, I wanted to be sure that I
tabulated those correctly so that if we need to, we

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can dig into those scores in that manner.
So I'll go ahead and read the scores
you now.

I'll go ahead and pull open the context

sheets as well so that we can follow along in that
manner.

It should just be one moment.
All right.

Does anybody see the

Merrill's Marauders portfolio up on the screen?
MS. LANNIN:
MR. VASQUEZ:
Roger reading the scores.

Yeah.

Yes, Roger, we do.

Thank you.

All right.

I'm going to start with

Obverse 1, the score is nine.

Obverse 2 -- apologies

-- rather, Obverse 2A, the score is six; 2B had one;
2C had one; 3 had one; 4 had one; 5A had one; 5B had
one, 5C had 23 points -- that was the largest vote
getter.

Obverse 7 -- I'm sorry -- Obverse 6 had three

points.

Obverse 7 had 13 points.

Let me clarify.

I'm not sure I said it correctly.

Obverse 6 had three

points.

And Obverse 8 had

Obverse 7 had 13 points.

one point.
Any questions before I move on to the
reverse?

Moving on to the reverse then.
Reverse 1 received 10 points.

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2 received 14 points.

Reverse 3 received one.

Reverse 4 received two.

Reverse 5 received one.

Reverse 6 received two.

Reverse 7 received two.

Reverse 8 received two.

Reverse 1 -- I'm sorry.

Reverse 9A received one.

Reverse 9B received two.

Reverse 9C received two.

Reverse 9D received one.

Reverse 10 received two.

And reverse 11 received 16,

making it the highest vote getter by two points.
MS. LANNIN:
MR. VASQUEZ:
MS. LANNIN:

Okay.

Thank you --

Mary -I'm sorry, Roger.

What

did you say?
MR. VASQUEZ:

Actually, I was turning

over to you, Mary.
MS. LANNIN:
much.

Oh. Okay.

Thank you so

That's tough tabulating, isn't it?
MR. VASQUEZ:
MS. LANNIN:

Yes, ma'am.
Okay.

So do we have any

further comments from the Committee?
MR. MORAN:
MS. LANNIN:
MR. MORAN:

Mary, this is Mike Moran.
Yes, Mike.
Do we need a motion to

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reverse these so that our 11 is the obverse and
Obverse 5C is the reverse?
MS. LANNIN:

If you'd like to make one,

that would be great.
MR. MORAN:

Consider it made.

MR. VAN ALFEN:

This is Peter.

I

second that.
MS. SALMON:

This is Robin.

MS. LANNIN:

Peter?

More getting in line.

Okay.

Okay.

Second.
Great.

So reverse order so that

R-11 is the obverse and 5C -- and 05C is the reverse.
All in favor of Mike's motion say aye.
MULTIPLE VOICES:
MS. LANNIN:

Aye.

Anybody opposed?

So the motion passes.

nay?

And so that is

what you have, gentlemen.
MR. VAN ALFEN:

Mary, this is Peter.

But I think there was a request, if I recall, on
Obverse -- or sorry -- Reverse 11, if that were to
become the obverse, which is now has, that there be a
tweaking of the inscription or a inclusion of -- I'm
forgetting what it was -- the provisional units --

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composite unit -MS. STAFFORD:
MS. LANNIN:

5307 -- yeah
57th something, composite

unit -MR. VAN ALFEN:
whatever there was.

-- or something,

Yeah, five three -- Composite

Unit Provisional 5307.

And that could go underneath

Merrill's -MS. LANNIN:

I thought that Joe was

going to put that as an arc underneath Merrill's
Marauders, if I'm not mistaken.
MR. VAN ALFEN:

Right.

Do we need to

have a motion on that, or is that -MS. LANNIN:

I think so.

MS. STAFFORD:

Yes.

MR. VAN ALFEN:

Yes, please.

Okay.

Then I would

like to make that motion.
MS. LANNIN:

I concur.

I second it.

All in favor?
MR. VAN ALFEN:
MR. TUCKER:

Aye.

This is Dennis.

make a friendly amendment to that?

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May I

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MS. LANNIN:
amendment?

What is your friendly

What is your friendly amendment, Dennis?
MR. TUCKER:

To also include the

airdrop elements, as the liaison requested, just to
combine all of that in one -MR. VAN ALFEN:

Dennis, I think that

Mike's suggestion that we allow Joe to create some
artwork that would include it and then not include it
and then let the liaisons decide themselves, is that
something that would be acceptable?

Or do we need to

make a decision on the C-47, do you think?
MS. LANNIN:

April, what do you think?

MS. STAFFORD:

Well, I believe it would

be very helpful to our process given that we have some
of our liaisons split on the point.

You have heard

from three of the liaisons that they feel strongly it
should be included and then two liaisons saying that
they would rather it not be included.

So to have it

on the record would be very helpful to our process.
Thank you.

As all liaisons are in agreement that they

would take both Committees' feedback on this point.
MR. VAN ALFEN:

Okay.

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Then I would

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155

welcome Dennis's amendment to the motion that we
decide to include the C-47 on the reverse in addition
to the inscription on the obverse.
MS. LANNIN:

All in favor of the

friendly amendment in the motion?
MULTIPLE VOICES:
MS. LANNIN:

Aye.

Nays?

Motion passes.

So, April, how are we going to get the
updated artwork to the liaison?
MS. STAFFORD:
that.

We also -- we still have to go to the U.S.

Commission
with the

We can facilitate

of Fine Art.

But we typically work

liaisons -MS. LANNIN:
MS. STAFFORD:

Okay.
Afterwards on tweaks

that the Committees recommend.
MS. LANNIN:

Okay.

And so then we'll

leave it up to Joe to provide the art for 5C.

All

right?
Okay.

Let's see.

more business today.

We don't have any

We started a little bit late,

and we're finishing essentially a little bit early in

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that regard.

We will continue the public hearing

tomorrow at ten a.m. for consideration of
candidate

designs for the 2022 Purple Heart Hall

of Honor commemorative coin and the candidate
designs for the 2022 American Women Quarter-Dollar
Program.
At this point I call this meeting in
recess.

Is there a second?
MR. BERNSTEIN:

Second from Art

Bernstein.
MS. LANNIN:

Thanks, Art.

All in favor of adjourning say aye.
MULTIPLE VOICES:
MS. LANNIN:

Aye.

Those opposed say nay.

The meeting is in recess at 4:44 p.m.
(Whereupon, the meeting concluded at
4:44 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
Washington, D.C.

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CERTIFICATE OF TRANSCRIBER
I, LARRY LARA, 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.

LARRY LARA

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