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Meeting

May 18, 2021

1
Citizens Coinage Advisory Committee (CCAC)
Public Meeting

Moderated by Mary Lannin, Chair
Tuesday, May 18, 2021
1:00 - 4:41 p.m.

Videoconference Meeting
Washington, D.C. 20220

Reported by:
JOB No.:

Terrell Lee
4561119

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2
A P P E A R A N C E S
CCAC Members:
Mary Lannin, Chair of the CCAC (by videoconference)
Dr. Peter van Alfen (by videoconference)
Arthur "Art" Bernstein (by videoconference)
Dr. Lawrence Brown (by videoconference)
Samuel "Sam" Gill (by videoconference)
Dr. Dean Kotlowski (by videoconference)
Michael "Mike" Moran (by videoconference)
Robin Salmon (by videoconference)
Donald Scarinci (by videoconference)
Dennis Tucker (by videoconference)
Thomas "Tom" Uram (by videoconference)

UNITED STATES MINT STAFF:
April Stafford, Chief, Office of Design Management (by
videoconference)
Boneza Hanchock, Design Manager (by videoconference)
Pam Borer, Design Manager (by videoconference)
Roger Vasquez, Design Manager (by videoconference)
Russell Evans, Design Manager (by videoconference)
Joe Menna, Mint Chief Engraver (by videoconference)

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A P P E A R A N C E S (cont'd)
UNITED STATES MINT STAFF:
Ron Harrigal, Manager of Design and Engraving (by
videoconference)
Jennifer Warren, Director of Legislative and
Intergovernmental Affairs and Liaison to the CCAC
(by videoconference)
Greg Weinman, Senior Legal Counsel and Counsel to the
CCAC (by videoconference)
Betty Birdsong, Deputy Director of Legislative and
Intergovernmental Affairs (by videoconference)
Elizabeth Young, Attorney Advisor and attorney
assigned to the 2023 American Innovation $1 Coin
Program (by videoconference)

LIAISONS - AMERICAN INNOVATION $1 COIN PROGRAM:
For the State of Ohio:

Steven George, Senior Advisor

to the CEO, Ohio History Connection (by
videoconference)
For the State of Mississippi:

Laura Hipp, Chief

Marketing Officer, Mississippi Development
Authority (by videoconference)

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A P P E A R A N C E S (cont'd)
ALSO PRESENT:
Mike Unser, Coin News Media Group (by videoconference)
Paul Gilkes, Coin World (by videoconference)
Maggie Judkins, Numismatic News (by videoconference)
Brandon Hall, Whitman Publishing (by videoconference)

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C O N T E N T S
PAGE
Welcome and Call to Order

6

Review and Discussion of Candidate Designs
for the 2023 American Innovation $1
Coin - Ohio

12

Acceptance of Minutes and Letters to the
Secretary

65

Review and Discussion of Candidate Designs
for the 2023 American Innovation $1
Coin - Louisiana

66

Review and Discussion of Candidate Designs
for the 2023 American Innovation $1
Coin - Indiana

99

Review and Discussion of Candidate Designs
for the 2023 American Innovation $1
Coin - Mississippi

119

Review and Discussion of Potential
Recommendations on Future Commemorative
Coin Program Themes

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

It is one o'clock, ladies

And good afternoon.

I would like to

call this order of the meeting of the Citizens Coinage
Advisory Committee for Tuesday, May 18, 2021.
To ensure that we have a quorum, I want
to introduce the members of the committee.

Please

respond "present" when I call your name.
Dr. Peter van Alfen.
DR. VAN ALFEN:
MS. LANNIN:

Art Bernstein.

MR. BERNSTEIN:
MS. LANNIN:
DR. BROWN:
MS. LANNIN:
MR. GILL:
MS. LANNIN:

MR. MORAN:

Present.

Dr. Lawrence Brown.
Present.
Sam Gill.
Present.
Dr. Dean Kotlowski.

DR. KOTLOWSKI:
MS. LANNIN:

Present.

Present.

Mike Moran.
Present.

MS. LANNIN:

Robin Salmon.

MS. SALMON:

Present.

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MS. LANNIN:

Donald Scarinci.

Donald Scarinci?
Okay.

Possibly phone user number

seven.
Dennis Tucker?
MR. TUCKER:

Present.

MS. LANNIN:

Tom Uram?

MR. URAM:
MS. LANNIN:
Lannin.

Present.
Okay.

And I'm Mary

I'm Chair of the CCAC, and I believe we have

a quorum.
So before we begin this meeting, I
would like remind each member of the committee to mute
his or her phone or microphone on the Webex program
when not talking, and to announce your name prior to
speaking each time so that the court reporter can
accurately attribute statements to you.
Additionally, I remind the public to
mute your phone, as this is a listening-only hearing
for the public.
The agenda for today's public meeting
includes a review and discussion of obverse and

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reverse candidate designs for the 2023 American
Innovation $1 Coin Program, which includes designs
featuring innovations from the states of Ohio,
Louisiana, Indiana, and Mississippi.

This program is

authorized by Public Law 115-197.
Before we begin today's proceedings, I
ask the Mint liaison to call to the CCAC, Ms. Jennifer
Warren.
Do we have any members of the press on
the call today, Jennifer?
MS. WARREN:

Yes, Madam Chairwoman.

First of all, I also want to point out,
Donald Scarinci does appear to be on now.

So just

F-Y-I, for the record, he is attending.
MS. LANNIN:

Donald, would you like to

say "present"?
Okay.

Continue.

MS. WARREN:

He's there.

He's saying

it, but he's muted.
Okay.

So Mike Unser, founder, and

editor of Coin News Media Group, LLC; Paul Gilkes,
senior editor of Coin World; Maggie Judkins, editor of

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Numismatic News; and Brandon Hall, senior associate
editor of Whitman Publishing is on the line from the
press.
MS. LANNIN:

Thank you so much.

And so

for the record, I would also like to confirm that the
following Mint staff are on the call today.

Please

indicate "present" after I have called your name.
April Stafford, Chief, Office of Design
Management.
MS. STAFFORD:

Present.

MS. LANNIN:

Megan Sullivan, Senior

Design Specialist.
Megan?
MS. WARREN:

She's not here, Madam

MS. LANNIN:

Okay.

Chair.

Boneza Hanchock, Design Manager.
MS. HANCHOCK:
MS. LANNIN:
MS. BORER:
MS. LANNIN:

Present.

Pam Borer, Design Manager.
Present.
Roger Vasquez, Design

Manager.

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Present.

MR. VASQUEZ:
MS. LANNIN:

Russell Evans, Design

Manager.
MR. EVANS:

Present.

MS. LANNIN:

Is Joe Menna here?

The

Mint Chief Engraver.
Not yet.
Ron Harrigal, Manager of Design and
Engraving.
MR. HARRIGAL:
Chair.

Good afternoon, Madam

I am present.
MS. LANNIN:

Good afternoon, Ron.

Jennifer, we have already heard from,
and she is the Director of Legislative and
Intergovernmental Affairs and Liaison to the CCAC.
MS. WARREN:

Present.

MS. LANNIN:

Greg Weinman, Senior Legal

Counsel, and Counsel to the CCAC.
MR. WEINMAN:

Good afternoon, Mary.

I'm here.
MS. LANNIN:

Good afternoon, Greg.

Betty Birdsong, Deputy Director of

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Legislative and Intergovernmental Affairs.
MS. BIRDSONG:

Present.

Good

afternoon, everyone.
Good afternoon.

MS. LANNIN:

Elizabeth Young, Attorney Advisor and
the attorney assigned to the 2023 American Innovation
Coin Program.
Liz, I think that you're muted.

I can

see you.
MS. YOUNG:

Sorry about that.

MS. LANNIN:
present.

Okay.

Hello.

Hello.

You're

All right.
And so finally, the following liaisons

will be on the call today for the 2023 American
Innovation $1 Coin Program.

Unfortunately, we only

have two liaisons that could be with us.
For the state of Ohio, it will be Mr.
Stephen George, Senior Advisor to the CEO of the Ohio
History Connection.

And for the state of Mississippi,

we have Ms. Laura Hipp, Chief Marketing Officer, and
Mississippi Development Authority.
And I would like to say that we are

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sorry not to meet Roz Moore, who is the Director,
Boards and Commission Staff for the Office of Governor
John Bel Edwards of Louisiana.
with us.

She is unable to be

Nor is Tyler Warman, Special Assistant to

the Governor, of the Office of Eric Holcomb for the
state of Indiana.

We're missing those two people.

Okay.

So for the business of the day,

are there any issues that need to be thrust before we
start?
Hearing none, I will turn the meeting
over to April Stafford, the Chief of the Mint Office
of Design Management.

And she will present the

reverse candidate designs for the 2023 American
Innovation $1 Coin Program.
The first portfolio to be considered is
the reverse candidate designs for the Ohio 2023
American Innovation $1 Coin.
April.
MS. STAFFORD:

Thank you.

And first, some background on this
program.

It is Public Law 115-197, the American

Innovation $1 Coin Act, that requires the Secretary of

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the Treasury to mint and issue dollar coins with a
reverse design honoring innovation or innovators from
each of the 50 states, territories, and the District
of Columbia.
In accordance with the act, the United
States Mint worked with the governors of the four
states being honored in 2023 to develop design
concepts for these coins.

The concepts have been

approved by the Secretary of the Treasury.

The

governors were asked to propose from one to three
design concepts, and artists created designs based on
all of them that were proposed and subsequently
approved by the Secretary.
The advisory committees are not
obligated to choose a theme and then select a design
from that theme.

Instead, you may recommend the

design that you believe will create the best coins.
The state that feels strongly about a particular theme
may elect to submit only that single theme, while
others choose to highlight a variety of innovations
tied to their state.
As always, the Mint worked with

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liaisons and experts from each state in developing the
following designs.

The obverse for this program will

remain the same as in previous years and will continue
to contain a unique gear-shaped privy mark to
distinguish this year's program.
So first, we will look at the Ohio
candidate designs.

Required inscriptions for this

design are "United States of America" and "Ohio."

And

as you mentioned, Madam Chair, on the phone with us
today, should be Mr. Steve George, Senior Advisor with
the Ohio History Connection, and the Ohio Governor's
appointed liaison for this program.
Mr. George, if you're with us, would
you like to say a few words?

And if so, can you

confirm the Governor has indicated a preference for
design Ohio-04?
MS. WARREN:
MS. STAFFORD:
MS. WARREN:
technical difficulties.

April.
Yes?
Mr. George is having some

We're trying to get him on.

MS. STAFFORD:
MS. WARREN:

Okay.
It will be just a couple

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of minutes.
MS. STAFFORD:

All right.

So Madam

Chair, if it's okay, I'll just share with the
committee that our understanding is the Governor has
indicated a preference for design four in this
portfolio.

That is OH-04.

And once Mr. George is

able to join us, perhaps after we've gone through the
candidate designs, we can throw to him to see if he'd
like to share any thoughts.
So first, we will see candidate designs
for the first theme from Ohio for the underground
railroad.

The underground railroad was, of course, a

decentralized network of individuals, family, friends,
and churches that covertly helped slaves escape to
freedom.

It was an innovation that arose as a

convergence of several efforts to liberate slaves in
the United States.
The National Park Service recognizes
over a dozen routes through Ohio that stand as
monuments to fleeing slaves who made the perilous
journey and those who helped them along their way.
Other states abutting the south had active lines

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within the underground railroad network, but Ohio's
role in the underground railroad was pivotal.
Ohio was the southernmost free state
that bordered the northernmost slave states of
Kentucky and then Virginia, with an estimated 3,000
miles of trails throughout Ohio.

Both Black and white

Ohioans hosted safe houses, or stations, that eased
and aided runaway's flights to freedom.
One well-known site is the small town
of Ripley, Ohio, where a Black businessman and former
slave, John Parker, and a white clergyman, the
Reverend John Rankin, aided slaves crossing the Ohio
River from Kentucky.

Reverend Rankin's family would

raise a lantern on a flagpole to signal fleeing slaves
in Kentucky when it was safe for them to cross into
the free state of Ohio.

Both Reverend Rankin's and

John Parker's homes still stand as national historic
landmarks and museums honoring the underground
railroad.
So first, we have designs 1, 2, and 2A.
These designs depict two strong hands grasped
together, the upper arm pulling the lower arm upward,

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representing the support and strength required by both
parties on the underground railroad.

A chain fastened

to a rustic shackle around the lower arm's wrist snaps
in fragments, alluding to the hope of freedom.

The

additional inscription is "underground railroad."
OH-02, seen here, adds an additional set of chains
that disappear behind a hammered metal texture on the
border.

OH-02A substitutes a path of footprints for

the chains and removes the textured border.
And moving on to design 3.

This design

depicts the John Rankin house, a national historic
landmark.

The house, which sits atop a hill and can

be seen across the river in Kentucky, was an important
stop on the underground railroad.

The big dipper

constellation appears overhead, with the north star
situated at the top center.
Those traveling the underground
railroad often knew little about the route other than
folk knowledge to quote "follow the drinking gourd,"
referring to the big dipper.

Light from a lantern in

the shape of the sun from the great seal of Ohio
radiates through a window.

The additional inscription

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is "underground railroad."
Design 4 portrays an underground
railroad conductor raising a lantern in the foreground
as a group of passengers ascends the 300-foot-high
stairs to safety at the John Rankin house, a key step
on the journey from a slave state to freedom.

The

additional inscription "pivotal state in the
underground railroad" is incused along the bottom
border.

And again, it is our understanding that this

design, design 4, is the preference of the Governor.
Moving on to design 6.

This depicts an

allegorical light to freedom, as an arm holds up an
antique fixed globe railroad lantern with rays of
light emanating from the center.

The broken chains

symbolize the freedom found at the end of a successful
journey.

The additional inscription "underground

railroad" is included.
Design 7 features the north star
presented in the style of a compass rose and circled
by a broken chain.

The central image simultaneously

references the vast terrain and distance traveled, as
well as the directional guidance provided by the north

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star.

It includes the additional inscription "the

underground railroad."
Design 8 features a lantern
superimposed over a map of Ohio illuminating the
networks of routes for the underground railroad.

The

additional inscription is "key to the underground
railroad network."
Design 9 depicts an underground
railroad conductor as he rows a freedom-seeking woman
across the Ohio River.

The man watches over his

shoulder as he rows while the woman looks back
tentatively with concerns of both her past and future
on her mind.

Their northern sky is seen in the

background, including the big dipper and the north
star.

The additional inscription "underground

railroad" arcs across the bottom border.
Moving on to the invention of human
flight, which is the second theme for Ohio.
bit about this theme.

A little

The Wright brothers, Orville

and Wilbur, created the world's first airplane in
Ohio's Miami Valley.

Their innovations in

aeronautical innovation, design, construction and test

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piloting brought about economic, social, military, and
political shifts that reverberate around the world
today.
Before achieving flight, the Wright
brothers produced breakthroughs in testing and
measuring the mechanics of flight through the use of
wind tunnels and prototyping.

According to historian

Peter Jakab, quote, "Wilbur and Orville defined and
solved all of the essential technical problems of
heavier-than-air flight.

The Wrights are important

not simply because their airplane was the first
powered, heavier-than-air craft to leave the ground
and maintain sustained flight.

They are the watershed

figures in aviation history because every successful
airplane that followed is rooted in the Wright Flyer.
In short, not only did the brothers
invent the airplane, they also pioneered the practice
of aeronautical engineering.

Their first US patent

did not claim invention of a flying machine, but a
system of aerodynamic control that manipulated a
flying machines surfaces" end quote.
Going on to Ohio design 10.

This

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depicts a Wright Flyer in flight with a geometric
visual in the background that symbolizes the Wright
Brothers' mastery of "three-axis control."

Their

innovative hand and body operated mechanical apparatus
balanced pitch, yaw, and roll, which was essential for
sustained power flight.
Designs 11, 12, and 13 depict a Wright
Brothers' Flyer at an angle while in flight.

The

additional inscription is "birthplace of aviation."
Design 11, seen here, includes a bald eagle in flight
behind the Wright Flyer.

Twelve includes a stylized

sun reminiscent of the great seal of Ohio.

And 13

features the outline of the state of Ohio.
Design 14 illustrates the airflow
through a propellor in motion on a Wright Flyer.
Directional arrows indicate the direction of the
airflow through and around the propellor.

The

additional inscription "innovation of human flight" is
included.
Design 15 features a profile view of a
Wright Flyer.

The patent number for the aircraft is

inscribed below the plane, while the additional

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inscription "innovation of human flight" arcs around
the border.
Design 16 depicts an upward view of a
Wright Flyer as it travels towards the clouds in the
background.

The additional inscription "innovation of

human flight" is included.
And finally, design 17 features a view
of a Wright Flyer from the rear of the plane through
to the front as the aircraft travels through the sky.
The additional inscription "innovation in human
flight" is included.

That concludes the candidate

designs for Ohio.
Madam Chair, I am aware that Stephen
George, I believe, has joined us if we are able to go
to him.
Mr. George, we've shared the candidate
design portfolio with the committee.

Would you like

to say a few words?
Are you there, Mr. George?
MS. BORER:

This is --

MS. STAFFORD:
MS. BORER:

You might be muted.

Yeah.

This is Pam.

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be muted.
MS. STAFFORD:

If you'd like to try

star six to unmute yourself, and then press the mute
button, Mr. George.
MR. GEORGE:
MS. STAFFORD:
go.

Wonderful.

Thank you.

Okay.
I apologize.

There we

Thank you for your

patience.
MR. GEORGE:
yours.

All right.

I appreciate it very much.

obviously.

Thank you for

I'm not a techie,

I can barely use my phone.
But I've been thrilled to be a part of

this process.

It was very exciting when Governor

DeWine called upon me to coordinate things here in
Ohio.

And what a pleasure it has been to work with

everybody at the Mint.

So far, you've been really

terrific.
The Governor has reviewed all of these
concepts.

He took this program very seriously.

And

he is enthralled with candidate number 4, which does
show a conductor escorting a family, we think, of
fleeing slaves across the Ohio River, and up this

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glorious hill to freedom in the underground railroad
network of Ohio.
Of course, that was a very dangerous
thing, and it was really just the first step because,
in order to be free, they had to make it to Canada.
But John Rankin's house on top of that hill stands
like a beacon to them.

It's on a very high hill

overlooking the Ohio River, and surely, it must be
able to be seen well into Kentucky.
We're very proud in Ohio of the
underground railroad network.

And although, you know,

these networks traversed much of the north, Ohio
played, really, this pivotal role in it.

And so many

towns in Ohio are familiar with the subject and really
very proud of their heritage of helping people achieve
freedom.
So that's my report.

The governor

really likes number 4, and he hopes that you will as
well.
MS. LANNIN:
George.

Thank you so much, Mr.

I'm glad you got the technology to work.

It's a hard day for all of us, sometimes with mute and

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unmute.

All right.

Thank you so much.

I'd like to ask Joe Menna and Ron
Harrigal if they've got anything to share with the
committee on the design.
MR. MENNA:

This is Joe Menna --

MR. HARRIGAL:
Oh.

This is Ron.

Joe, go ahead.

wondering if you were on.

Go ahead.

MR. MENNA:

Oh, yes.

This is Joe Menna.
add about the portfolio.

I have nothing to

Okay.

Anything?

MR. HARRIGAL:
is a good option.

I'm sorry.

Thank you.

MS. LANNIN:
And Ron?

I was just

No.

I really think this

Lots of choices here, and they're

all definitely coinable, for sure.
MS. LANNIN:
Okay.

Great.

Thank you.
Thanks so much.

So I'd like to begin our

consideration of these designs.

I'd like to remind my

members to keep their comments, please, to -- could
you mute your phone, please?

Thank you.

And to identify yourself prior to

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speaking because we have no idea otherwise.

So we're

going to be keeping track of time, and when the time
is close, I'm actually going to ask you to wrap up.

I

don't mean to be rude, but we've got a lot of stuff to
do today.
So if members have questions or
comments on any programs, please refrain from asking
or discussing it until we're recognized at the end of
the discussion.

And then, I'm going to ask if you've

got additional comments.

So I would like to begin

with Sam Gill.
MR. GILL:

Thank you, Madam Chair.

Well, first of all, my congratulations
to the artist for all four series that we're going to
be looking at today.

I thought they were, as usual,

superb, and I'm always in awe of what they do.
If I had my way, I would allow Ohio to
have two innovation coins because both of their topics
were so, so good and compelling.

Just to go to the

second one, which is the Wright Brothers' airplane, it
certainly -- that invention just tops just about
everything that all of us can think of as something

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that's affected the world so much.
And then, the underground railroad is
just a fascinating, interesting treasure legacy for
Ohio, and they should be extremely proud.

And I can

understand why they want to highlight that today.
I'm certainly going to throw my support
behind the Governor's recommendation for number 4, but
were it up to me, initially, I would have probably
chosen number 9 because the artist has captured that
lady's face in such a touching way.

And I can just

imagine what she must be thinking in that boat,
leaving so much behind and going to so much
uncertainty.

So anyway, my support is for number 4,

and I thank you, Madam Chair.
MS. LANNIN:

Thanks so much, Sam.

Dr. Lawrence Brown, please.
DR. BROWN:

Good afternoon.

This is

Lawrence Brown.
And Madam Chair, I would like to thank
you for your leadership, as well as thank you for your
guidance that you gave at the very beginning of this
conversation that we're having.

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I, too, agree with my colleague.
designs are just flawless.

These

I mean, just fantastic.

I, too, will vote and throw my support to the
suggestion by this good state of Ohio.
I, too -- in fact -- I find it kind of
challenging to decide between two important aspects of
American history.

At the same point, I do see the

value, particularly given where we are now as a
nation.

It just makes sense that we lean in a

direction of recognizing our history in a way that
allows us to recognize all Americans.
So in that sense, Madam Chair, I will
bring my comments to a close because I think this is
just so wonderful and allow my colleagues to add
their -- as well.
MS. LANNIN:

Thank you, Dr. Brown.

Donald Scarinci.
Donald, are you with us?
All right.

We'll come back to Donald.

Mike Moran.
MR. MORAN:
MS. LANNIN:

I'm here, Mary.
All right.

Mike, why

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don't you take over for a while.
MR. MORAN:

I, at the risk of being

redundant, will also say that I think that the
portfolios package that we have today is by and large
excellent.

And I feel like there were designs in each

of the packages that were really outstanding and would
look well on the back of the dollar coin.
In terms of Ohio, I like number 1 first
and foremost.

It's a very powerful image, the broken

chain, and two hands.

I don't think you can get any

better than that in terms of the symbol of freedom
that Ohio offered to the underground railroad.
I also thought that number 6 was nice,
and that again, you had the broken circle of the chain
with the north star in the center, the north star
being the guide and the light to freedom.

And going

back to number 6 as well, I also liked the lantern,
the light, the broken chain.

I thought the symbolism

was particularly strong.
In terms of the Wright Brothers' Flyer,
I really want to call attention to number 15, being an
engineer by trade -- or by training, not by trade.

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think that's an outstanding view of that Flyer.

It's

from a unique direction, and yet it conveys exactly
what it is.

You instantly know.

And I think getting

the patent number there is a nice touch as well.

So

it will also get my votes.
And I think I'll let -- in terms of the
dominant theme here, between the Flyer and the
underground railroad -- I'll let the heart and the
votes for the art decide which way we go.
Thank you, Mary.
MS. LANNIN:

Thanks so much.

Tom Uram.

You available?

MR. URAM:

Thanks, Madam Chairman.

Yes.
Same thing on this.

I'm rambling with

the themes here in relation to I respect Governor
DeWine's choice here.

But it gets back to a couple of

the other designs, which brings me back to -- woah.
Am I getting some feedback?
MS. LANNIN:
MR. URAM:

Not from me.
The underground railroad to

me is history, which is very important history, and I

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understand that, and I kind of look at it in relation
to as we did the Pennsylvania turnpike, which was
history.

So I'm going to, with respect to the

Governor's office, give votes to choice number 4.
However, I'm also, like a couple
others, going to give votes to the Wright Brothers.
And particularly, the last design, design 11, as it
relates to an innovation because I think that the
Wright Brothers' is really the innovation, and the
underground railroad, where it is an innovation, but
it's also more history.

And I guess you could argue

both ways on it.
But I'm going to give both of them
points, and either way, as Michael just said, both are
very -- and Sam, a couple others have said -- that you
know, the historic significance of both are
challenging.

So either way, I think Ohio is going to

be well representative.
Thank you, Madam Chair.
MS. LANNIN:

Thanks so much, Tom.

Robin Salmon, please.
MS. SALMON:

This is Robin Salmon.

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Thank you, Madam Chair.
Regarding the underground railroad, I
liked design number 3.

That particular artist point

of view in incorporating all of the important symbols
of the underground railroad, the historic symbols, I
think is a very beautiful design, and it's different.
With the Governor's choice for number
4, I like that one as well.

I'm not positive that the

lantern is representative of the proper time period.
I think it's a little later design than the
underground railroad time period, but that's easily
dealt with.
With the Wright Brothers, there were so
many interesting designs here.

Number 14, in

particular, caught my eye, focusing on the propellor
and the airflow, it's really an ingenious depiction,
and it underscores what innovation is all about.
Number 15 also I thought was an excellent design and
an interesting perspective on the Wright Flyer.
And then, number 17 underscored all the
things for me that needed to be underscored as far as
the significance of what the Wright Brothers did.

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I would not argue with the Governor on
this, but I do like other designs, as I've
articulated.
number 4.

But I'll certainly be giving votes to

Thank you.
MS. LANNIN:

Thank you so very much,

Robin.
Is Donald Scarinci unmuted?

Can we go

back to Donald?
Donald, I can see you.

I can't hear

you.
Donald, you're talking, but we can't
hear you.
MS. WARREN:
Jennifer.

Madam Chairwoman, this is

His mic is unmuted, so I don't know if

we're having a sound -Donald, you may have to call in on the
line to speak.
MS. LANNIN:

Yes.

If Donald could

consider doing that, and then I will make him the last
person unless Lexi can fix it or something.
Dennis Tucker.
MR. TUCKER:

Thank you, Madam Chair.

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This is Dennis Tucker.

Can you hear

me?
MS. LANNIN:

Yes.

MR. TUCKER:

Thank you.

For me, in my opinion, for Ohio, the
underground railroad is the strongest of the two
themes we've been presented with today.

And I'd like

to thank the Governor for affirming that American
innovation doesn't have to be scientific, physical, or
able to be patented.

It can be cultural, social, and

intangible.
One of our Presidents of the United
States recently defined innovation as "the creation of
something that improves the way we live our lives."
And I think the underground railroad certainly
improved the life of America.
Of the designs that we've been
presented, the one that really caught my eye and was
the most dramatic, and to me, is the strongest, is
number 1.

I do give merit points to number 3 and

number 4, which show the John Rankin house.

I like

the way that those designs use scenery and character

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to tell a story.

But the strength and drama of those

hands clasped, and that exploding chain in number -the use of symbolism and metaphor, to me, this is far
and away the most pneumatically reflective design.
It's the best design.
I would also point out, just quickly,
that the Wright Brothers and innovations in flight
have been honored on many, many medals and tokens and
on many legal tender coins.

The Isle of Man recently

has done at least three that I'm aware of.

Liberia,

Ghana, the Solomon Islands, the United States itself
in the North Carolina state quarter, and then the
first flight centennial half dollar, silver dollar,
and gold ten-dollar piece.
So it's certainly a worthy innovation
and one that deserves commemoration, but it has been
commemorated.

And as far as I'm aware, I don't think

the underground railroad has been.
Thank you, Madam Chair.
MS. LANNIN:

Okay.

Thank you so much,

Dennis.
I think we've gotten Donald's audio

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problems straightened out.
Donald, if you can hear me, would you
like to comment on Ohio?
The fates are not with us today.

He's

not sitting in his chair.
Okay.

Dean Kotlowski, please.

DR. KOTLOWSKI:

This is Dean Kotlowski.

Thank you very much, Madam Chairperson.
I wanted to just start out with a
little bit of information.

I think when we do the

underground railroad, we have to be careful about the
history and the mythology.

A book was written around

1961 by a historian named Larry Gara called The
Liberty Line: The Myth of the Underground Railroad,
which argued against images of a highly organized
movement.
I was very happy to see the Mint in its
narrative did stress that it was decentralized.

So

for that reason, number 8, which I don't think has
been mentioned so far, is interesting.

But it may get

us into the idea of something that was very, very
formal as a network.

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It looks a lot like a map that was
produced in Wilbur Seibert's book about the
underground railroad, which was published in 1898,
which again, I think, made an argument for a more
organized effort.
As you can see, my second point here
is, I have a little bit of background in the
underground railroad.
in graduate school.

It was the first paper I wrote

It was later published.

But it's

not really a primary field of my interest.
And the third thing I wanted to just
state in way of introduction with respect to this
particular coin, I really wanted to feel something,
and I wanted to feel something really powerful.

And I

wanted to think, but I didn't want to spend a lot of
time puzzling out what the artist might have been
intending, and so for me, I have to very, very
strongly agree with Mike and with Dennis, number 1 was
far, far and away the best design.
And I don't want to take issue with the
Governor's office.

But I want to be direct, as I

always am, and say I was really not inspired very much

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by number 4 until I actually looked up the John Rankin
house, and it is a very good rendering of that
particular site.

So I can see why the Governor liked

this.
I'm just not a fan of the way the
characters were drawn, and like Sam, number 9, I
think, you know, had a little bit more of a human
touch when you bring people into this.

But I also

felt that the figures were a little bit big for the
rowboat.

And I would be interested if people are more

artistically inclined and experienced, whether they
would agree.
But let's get back to number 1.

Number

1 is terrific because what number 1 shows you with the
muscles, and the two hands together, and the breaking
of the chain, it shows you strength, it shows you
struggle, it shows you cooperation, and it shows you
liberation.

And it really, really profoundly moved

me, and I think that's what a coin should do at its
very best, and it did this.
Now, the one thing because I was
critical of the Governor's choice, I want to be a

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little critical of mine.

You want to be careful about

the way, you know, of showing uplift.
That's kind of a theme here.

You know.

And that can be read in

maybe a different way, and maybe not as positive a
way.

That's reading too much into it, so I've

considered that, and I've kind of pushed it aside
because I love number 1.

I'm a little curious as to

why "underground railroad" the writing of it is
written the way it is.

It seems to be reversed, and

maybe it should be the other way around.

I'll let

people figure it out.
With number 2, again, you've got a
variation on this theme.
additional chains get you.

I'm not sure what the
The narrative said that

they're receding in the background.

It could be a

meaning that African-Americans would find their
freedom to some extent limited in the north, not
exactly a situation of slavery.

But again, that's, I

think, reading too much.
And I did not like 2A because 2A showed
those footprints moving in a southwesterly direction.
So I think that 1, 2, and 3 really caught my eye and

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attention, but it was far and away number 1.
Like Mike, I looked at number 6, and I
think it's a very interesting design.

I want to say

some nice things to the artist, but it was a little
too complicated, and it got me thinking more.

And

it's not like I'm against thinking here, but I really
wanted the power of the feeling and the emotion -MS. LANNIN:

Okay.

DR. KOTLOWSKI:

I may be running a

little bit out of time here.
MS. LANNIN:

Yes.

DR. KOTLOWSKI:

You are, my friend.

So I don't have very

much to say about the Wright Brothers, except I like
number 10, and I liked number 15, and number 17 was a
little hard to decipher, but it was an interesting
perspective.
Thank you -MS. LANNIN:

Thank you.

Do we have Donald Scarinci back at his
phone yet, or is it -MS. WARREN:

This is Jennifer.

They

actually, we could hear them at one point when Dennis

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and Dean were talking, so I had hit their mic, but
now, it seems like their person is gone, so I don't
know if they're in the room and can hear us.

They

would just have to unmute their microphone at this
point.
MS. LANNIN:

Okay.

I will continue on

with Peter van Alfen, please.
DR. VAN ALFEN:

Thank you, Madam Chair.

I am happy to defer to the governor's
choice for the underground railroad, number 4.
Although, like some of my colleagues, I do have some
concerns about that.

And also feel, much like Mike,

Dennis, and Dean, that number 1 is by far the
strongest design in this underground railroad
portfolio.

I find this design incredibly compelling,

very strong, and I think it would work very well on a
coin.
Many of the other designs are also
quite strong.

I have to say.

One of the things that

concerns me, however, about number 4, and this is a
point that I believe the liaison, Mr. George, brought
up, is the fact that Ohio is not necessarily the

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innovator or the innovative state of the underground
railroad because, again, as I believe Dean brought up,
this was rather decentralized.
And so this inscription "pivotal state
in the underground railroad," that we find on number
4, and then I think on number 8, "key to the
underground railroad network," again sort of
underscores the fact that Ohio cannot necessarily lay
claim to being the state of innovation for the
underground railroad.
So I do wonder whether or not we should
include "pivotal state" or something along those lines
if we do choose number 4.

Or just have "the

underground railroad" as the inscription and delete
pivotal state.

That's something that we could discuss

a little bit later, perhaps.
For the Wright brothers coins that are
proposed designs, as Dennis brought up, you know, this
is an image of the Wright Flyer.

The image of the

Wright Flyer has appeared already on the 2002 Ohio
State quarter, the 2001 North Carolina, as well as the
2003 first flight series.

That said, I did find a

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couple of these designs really quite compelling.
Number 14, for example, really is, you
know, really quite interesting.

As is number 17,

simply because it gets away a little bit from that
traditional view or the view that we've already seen
in some issued coins of the Wright Flyer.

Number 15,

I have to agree with Mike is also really quite a
different and nice view of this.

In fact, it really

rather reminds me of looking at the Wright Flyer
hanging in the Smithsonian, the viewpoint that you
have there.
So that's what I have to say, and thank
you very much.
MS. LANNIN:

Thank you, Peter.

Arthur Bernstein, please.
MR. BERNSTEIN:

Hi.

This is Art

Bernstein, and I speak as a citizen of the buckeye
state, very pleased to discuss the Ohio dollar.

I'd

like to focus my comments on design 08 and tell you
that Ohioans are very proud of the underground
railroad.

And as I travel around the state, I've seen

numerous churches and homes in basements with plaques

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describing the history, the role that that particular
place played in the role of the underground railroad.
And that's why I'm attracted to design
number 8 because unlike the design suggested by the
Governor's representative, design 8 reflects the
entire state and shows that the entire state was
involved in the underground railroad.

It even shows

Lake Erie and references the connection to Canada,
which was ultimately part of the underground railroad
network as well.
So I would like to commemorate the
underground railroad, and I think design 8 does it in
a way that celebrates all of Ohio, rather than one
specific building.

Thank you.

MS. LANNIN:

Thank you, Art.

Donald Scarinci, please.
MR. SCARINCI:

Thank you.

Can you hear

me now?
MS. LANNIN:
MR. SCARINCI:

Yes.

Welcome, Donald.

Okay.

So that took a

village to make this happen.
Listen, I am going to, you know, in an

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attempt to save Ohio from itself, I am going to do
what I never do.

I'm going to do a 3, 4, 14, 15, and

17 because I'm hearing a lot of support for those
three designs on flight, which is clearly an
innovation, as opposed to history -- important
history, though it is.
it is.

Very important history, though

And beautiful designs, you know, very

beautiful designs, and very important designs, though
they are.
All right.
series.

It doesn't go in this

It just doesn't go.

Right.

It sticks out

like a sore thumb and makes Ohio look like they're
just trying to be politically correct.

I'm sorry.

So I think innovation is clearly
flight, and that's what the series is about.

So as

much as I'd like to support an underground railroad
coin, you know, maybe we could propose a commemorative
coin for this.

Maybe we can do this as a medal, you

know, to go side-by-side with the coin.

But you know,

American innovation, you know, I mean, does it get
more American and more innovative as an American than
flight?

And you know, I mean, their state quarter,

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you know, was celebrating, you know, John Glenn,
flight, all of it.

And you know, this is clearly

important.
So I'm sorry, but you know, I have to
support one of these flight coins.
series.

You know, for this

For this particular series.

Because we're

talking about American innovation dollars.
what we're talking about here.
not a history series.

Right.

That's

You know, it's

It's American innovation dollar

series, and that's what we're talking about.

So I'm

going to give a three to 14, 15, and 17.
MS. LANNIN:
Okay.

Okay.

Donald, is that it?

So it comes down to me.

All right.

In terms of strength of

design, I think number 1 is outstanding.

No one has

mentioned the fact yet that the hand is reaching from
the south to somebody that's up north.

You know, so

that is bisecting the coin there, I think, is really a
powerful statement.

I didn't like the other 2 and 2A

because I thought it added sort of extraneous things.
I like the idea of the medal on 2.

I did not like the

idea of the feet on 2A.

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But I understand exactly what Donald is
talking about.

I wonder what percentage of the

country has probably flown on the plane.
way of knowing that.
they did.

I have no

But that is stunning in what

And I know that we've honored the Wright

brothers on other coins and in other ways, but we
became lighter than air.

You know, Leonardo DaVinci

was writing about all this stuff, and it took the
Wright brothers to pull it off.
I actually liked number 15, like Mike
did, because if we're talking about American
innovation, remember the first set of coins that we
did in the series was about the first patent that was
signed.

Right.

So here we've got US patent number

821393 on a very cool image of this plane.
If I didn't pick this one, I would
definitely pick along with Robin and Donald.
number 17.

I loved

I just thought it was a pure, pure coin,

and I think that the Mint could do a lot with texture
for the clouds.
So with that, I think that we should
start to think about scoring.

And we've got

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everything that came from the Mint to us in our
scoresheets, so we should e-mail or text our scores to
Greg -MR. WEINMAN:
MS. LANNIN:

Yes, please.
-- and he'll tally them.

And it is approximately ten minutes to 2:00.

Greg,

should we return at 2:00?
Mr. WEINMAN:

Yes.

Let's at least give

ourselves 10 minutes, and let's see where we are.

It

depends on how quickly everybody can give me their
scores.
MS. LANNIN:

All righty.

Thank you so

much.
MR. WEINMAN:

I'm waiting for Mary,

Robin, and Tom.
Robin just came in.
MS. LANNIN:

Thanks.

Greg, I e-mailed you it.

Did you not get it?
MR. WEINMAN:

Not yet.

If you don't

mind trying it again.
MS. LANNIN:

Oh, really.

try to take a picture of it or something.

Maybe I'll
Wow.

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Could people mute their phones if
they're not actively talking?
MS. WARREN:

Yeah.

Tom, your phone is

open.
MR. URAM:

No.

That wasn't me.

I know

it was dogs, but I can't take the blame on that one.
MS. WARREN:
thought it was you.

It sounded like you.

I

My fault.

MR. URAM:

I know.

I know.

Greg, that just went over.
MR. WEINMAN:

Thank you.

Yeah, Mary.

Take a photo if need be.

MS. LANNIN:

I am.

I don't -I am.

That's

really weird.
MR. WEINMAN:

I do not have an e-mail

from you.
Did you send me?

You just sent me

MR. URAM:

Yeah.

yours, Tom?
Yeah.

I just sent it

over.
MR. WEINMAN:

Okay.

I'm sure it will

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come through in a moment.
MS. LANNIN:

Okay, Greg.

I just sent

them.
MR. WEINMAN:
MS. LANNIN:

Okay.

I'm waiting.

Am I in the no Greg zone

today for some reason?
MR. WEINMAN:
through.

Huh -- not coming

I mean sometimes, who knows.

Technology is

odd.
MS. LANNIN:

Well, as I said, I have an

appointment with some tech guys tomorrow morning at
nine o'clock.
MR. WEINMAN:

I haven't gotten Tom's

yet either, so I'm still waiting on that.
For what it's worth, yeah, if you're
able to take a photo of it and text it, sometimes that
does seem to come faster.
MS. LANNIN:
MR. WEINMAN:

Okay.
E-mail system seems

delayed.
MS. LANNIN:
MR. WEINMAN:

Have you gotten anything?
Yours, Mary, just came.

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MR. URAM:

I just sent mine to your

phone as well.
MR. WEINMAN:
Mary's just came.

Okay.

Hold on.

I'll put her scores in.

MS. LANNIN:
Greg.

Good.

Sort of in reverse order,

I apologize.
MR. WEINMAN:

No worries.

Okay.
Okay.

We have made it.

Mary, we're ready.
MS. LANNIN:

Okay.

Good.

So Greg, if

you could read to us, I'd appreciate that.
MR. WEINMAN:

Yes.

score of a 33 possible points.

This is out of a

The scores are as

follows: number 1 received 20 points, which is just
barely the high vote-getter.

Number 2 received 3

points, number 2A received 2 points, number 3 received
8, number 4 received 10, number 6 received 6, number 7
received 5, number 8 received 4, number 9 received 5,
number 10 received 5, number 11 received 1, number 12
received 1, number 13 received 1, number 14 received
13 points, number 15 received 18 points, number 16

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received 2, and number 17 also received 18 points.
So the high vote-getter was number 1,
closely followed by 15 and 17 with 18 points.
Thank you very much, Greg.

MS. LANNIN:

Well, it sounds like we need a
discussion.

Doesn't it?

Since it's sort of hard for

me to see you raise your hands, who would like to
speak?
MR. MORAN:

I would, Mary.

This is

Mike.
MS. LANNIN:
MR. MORAN:

All right.

Mike.

Mike Moran, for the record.

As I closed on this discussion on my
part, I said I would let the art decide, and that was
really where I wanted it to sort out.

But really,

when you get down to it, there's a difference between
history and innovation, as Donald so aptly stated.
And while I gave number 1 three points, I also gave
number 15 three points.

I'm torn on this one, and I

think if I were to do it again, I would vote for the
Wright brothers.

That's it.

MS. LANNIN:

All right.

Thank you,

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Michael.
Would anybody else like to add
anything?
Dr. Brown?
DR. BROWN:
that I had a few comments.

Yes, ma'am.

You sensed

So Madam Chair, I was

wondering, is it possible for me to ask a question of
the liaison?

Because that may very well affect my

vote.
MS. LANNIN:

If Mr. George is still on,

MR. GEORGE:

I am.

we may.

DR. BROWN:

I think I'm on.

George, this is Lawrence

Brown, one of the members of the CCAC.

I am sort of

interested in getting a sense, how does your fair
state plan to publicize more about this coin if you
have plans?

Or can you share with us what the

thinking is?
It seems I've lost him.
Madam Chair, the reason for my question
is that I really respect the comments from my members
of the CCAC.

I do appreciate that this design is

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meant to be in a series dealing with American
innovation.

I'm not so sure the underground is not in

that same ballpark.

Let me explain.

Whenever you have a group of
individuals who go beyond the call of duty to do
something that may put them at risk, I think that
represents an innovative spirit in terms of being able
to support your brother or your sister.
Now, I do realize I asked the question
of the liaison.

I asked the question because one of

my colleagues mentioned that in the good state of
Ohio, there's a great amount of pride with respect to
the underground railroad.

And this is an Ohio coin.

So in that respect, I really value what the good state
of Ohio said.

I value what my colleague of ours from

the CCAC says about what happens when he talks to
other Ohioans with respect to that.
And I, too, am not a factor of Ohio
State.

I'm always in competition with them in almost

any sport, but still, I think that that's something
worthy of appreciating, that whenever you reach out
your hand to assist another human being, that is not

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something that you can always count upon, and that
sense, is to me, in fact, innovative in terms of
spirit.
Thank you, Madam Chair.
MS. LANNIN:

Thank you, Dr. Brown.

Do we have Mr. George on?
I thought I heard him at one point.
MR. GEORGE:

Yes.

Can you hear me?

MS. LANNIN:

Yes.

We can.

MR. GEORGE:

Okay.

Yeah.

I apologize.

I thought I was speaking earlier, but I guess I
wasn't.
But there is a great deal of interest,
and frankly pride, throughout so many Ohio communities
about this particular subject.

I think the Governor

was particularly interested in the underground
railroad because he did see it as social innovation
for good.

And I think one of your members said

earlier that innovation is whatever makes the world a
better place or the country a better place.

And

certainly, the underground railroad aimed to do that
in the lives of so many people.

It estimated, I

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think, 2,000 individuals that passed through the
Rankin house up those stairs.
powerful thing.

It's a really, very

And socially, it probably was as

powerful as the invention of the aircraft.
And Ohio has honored the Wright
brothers before.

I'm not trying to take anything away

from them at all because they also were a source of
pride for, I think, throughout the state.

But in

2003, which was also the year of the bicentennial of
the state of Ohio, the Wright brother aircraft from
1905, which the Wright brothers considered the very
first true plane, which you can see today in Dayton,
Ohio.

That was honored along with an astronaut

representing, yes, John Glenn and Neil Armstrong, but
the great contributions we've made to aviation as a
state.
But I think the most important thing
for me to say here is that the Governor was really
inspired by the social innovation aspect of this.
Aircraft is history, too.

The underground railroad is

history, but they both also are changing the way
Americans have lived their lives.

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MS. LANNIN:

All right.

Thank you, Mr.

George.
So it appears that we have number 1 at
20 points, number -- I think, correct me if I'm wrong,
Greg -- 15 at 18 points, and 17 at 18 points.
Would someone like to make a motion?
MR. TUCKER:

This is Dennis Tucker.

I

would make a motion -DR. KOTLOWSKI:
MS. LANNIN:

Madam Chair.

Dean?

Dean spoke in first.
DR. KOTLOWSKI:

Sorry.

Madam Chairperson, I

just wanted to echo what Dr. Brown said.

I think we

want to avoid making a hard distinction between
history and innovation.

Because there's a whole field

called history and technology of science, and we
ourselves have looked at aspects of social innovation
before in this series.
And again, what is leading me toward
the underground railroad is that factor, and it is the
art that's tipping me in that direction.

So I don't

know if a motion is needed because number 1 finished

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first.

But just to clarify it, I would move that the

committee adopt number 1 as our recommended choice.
MR. BERNSTEIN:

Second.

MS. LANNIN: You can't just say "second"
without saying your name.
MR. BERNSTEIN:

This is Art Bernstein,

from the buckeye state, is showing a second.
MS. LANNIN:

All right.

And Dennis,

did you have a comment?
MR. TUCKER:

Oh.

MS. LANNIN:

Okay.

native Ohioan beat you.

Well, I think the

Okay?

MR. BERNSTEIN:
as quickly as I did.

I was just seconding.

That's why I jumped in

I wanted that honor.

MS. LANNIN:

All right.

Okay.

All in

favor of taking the artwork from OH-01 as the
recommended design say, "Aye."
(A chorus of ayes.)
Do I have anybody opposing?
MR. SCARINCI:
MS. LANNIN:

I oppose it.
Okay.

So it passes 10 to

1.

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MS. SALMON:

Madam Chair.

MS. LANNIN:

I'm sorry.

MS. SALMON:

This is Robin.

Yes?

I'm

sorry, Robin?

Could we change the direction of the
lettering of the "underground railroad?"
not be correct.

It seems to

Dean had pointed that out earlier.

MS. LANNIN:

Okay.

Robin, make a

MS. SALMON:

I move that --

motion.

UNIDENTIFIED SPEAKER:

I would regard

that as a friendly amendment.
MS. LANNIN:
All right.
with Robin?

Okay.
So does everybody agree

It bothered me, too, so.
MR. TUCKER:

I do not, but I want the

motion to pass, so -- this is Dennis Tucker.
MR. WEINMAN:
MS. LANNIN:
MR. WEINMAN:
you clarify?

Mary?
Yes?
Before you move on, could

If you're doing this as a friendly

amendment, that means you're not voting yet.

Or is

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this a separate motion?

If you want to talk about the

previous one, then you may want to clarify to see
actually how many no votes there were.
MS. LANNIN:
passed 10 to 1.

In the previous motion, it

Dean made the motion, and Art

seconded it that we accept artwork number OH-01 as the
recommended design for the state of Ohio.

And then, I

believe Robin was trying to make a friendly amendment
that we deal with the sort of -- the reversal -- what
seems to be reversal of the lettering for "underground
railroad."
MR. WEINMAN:

Yeah.

I think

technically this would be a separate motion.

If the

first motion has been voted on, then this is a new
motion based on the previous vote.
MS. LANNIN:

Okay.

So Robin, would you

like to make the motion?
MS. SALMON:

I move that the lettering

of the "underground railroad" be repositioned.
MS. LANNIN:

Any seconds?

DR. KOTLOWSKI:
MS. LANNIN:

Second.

Dean.

Okay.

Thank you.

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All in favor of Robin -MR. BERNSTEIN:

Madam Chair, I have a

question.
MS. LANNIN:

Who said that?

MR. BERNSTEIN:

It's Art Bernstein who

has a question.
MS. LANNIN:

All right.

MR. BERNSTEIN:

Before we vote on the

second motion, I was intrigued by the placement of the
letters.

I wondered if someone from the Mint had an

explanation as to what was the intent.

It went by me,

but I thought maybe there's a good explanation.
MS. LANNIN:
MR. MENNA:

Joe Menna, are you there?
Yes.

This is Joe Menna.

There's no good explanation other than
that it's the individual artist's particular artistic
intent.
MS. LANNIN:
MR. MORAN:

Stop.

Okay.
Mary.

Joe -This is Mike Moran.

MS. LANNIN:

Yes?

MS. WARREN:

Wait a minute, please.

This is Jennifer.

The court reporter had a

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question.
REPORTER:

I just wanted to interrupt

just to remind everybody, please announce yourself
when you're speaking so that I'll be able to keep up
with the record.
MS. LANNIN:

Thank you so much.

We're

trying.
MR. MORAN:

Mary.

Have I got the

floor?
MS. LANNIN:

All right.

Mr. Moran.

Announce -MR. MORAN:

Yes.

Mike Moran.

Joe, let's have a more pointed
question.

If this comes to you like it is now, would

you reverse that "underground railroad?"
MR. MENNA:

No.

MR. MORAN:

Okay.

MS. LANNIN:

That's Joe Menna.

Okay.

MR. MORAN:

I just wanted your opinion.

MS. LANNIN:

Any other opinions about

Robin's amendment and Dean's second?

The "underground

railroad" positioning.

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This is Dennis Tucker.

MR. TUCKER:

I would just say that it seems a bit
like design by committee to change something like
that.

I think it's fine the way it is.
MS. LANNIN:

discussion on that?

All right.

Any more

And we'll vote on the second

amendment of Robin.
All in favor, say, "Aye."
(A chorus of ayes.)
MS. LANNIN:

That sounds like three

people.
Opposed?
(A chorus of nays.)
MS. LANNIN:

I can only count three

people that's saying that.
Let's do voice vote.
Lawrence Brown, yes, or no?
DR. BROWN:

No.

MS. LANNIN:

Donald Scarinci, yes, or

no?
MR. SCARINCI:
MS. LANNIN:

No.
Mike Moran, yes, or no?

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No.

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

Tom Uram, yes, or no?
No.

MS. LANNIN:
Dennis is?

Robin is yes?
Dennis Tucker.

MR. TUCKER:

No.

MS. LANNIN:

Okay.

I'm afraid that

this isn't looking good, Robin.
Dr. Dean Kotlowski.
DR. KOTLOWSKI:
MS. LANNIN:

Yes.

Art Bernstein.

MR. BERNSTEIN:
MS. LANNIN:

Yes.

Dr. Peter van Alfen?

DR. VAN ALFEN:
MS. LANNIN:

Yes?

No.

Mary Lannin.

No.

I think that the noes have it.
two, three, four, five, six noes.

One,

Two, four, yes.

Two -MR. WEINMAN:
noes.

No.

It would be seven

Seven noes.
MS. LANNIN:
MR. WEINMAN:

So the motion fails?
The motion fails.

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And the art remains the

MS. LANNIN:
way that it is.
Okay.

I have a little bit of house

cleaning that I need to do.

At the beginning of our

session, an hour and 14 minutes ago, I should have
asked if we all agree on the minutes and the letters
to the secretary.

I need approval of them.

DR. BROWN:

So moved.

This is Dr.

Lawrence Brown.
MS. LANNIN:

Would anyone like to make

a motion?
DR. BROWN:

Lawrence Brown.

MS. LANNIN:

Okay.

So moved.

And a second,

please.
MR. BERNSTEIN:
MS. LANNIN:
All right.

Art Bernstein seconds.

Thank you, Art.
So I've got that taken care

of.
MR. WEINMAN:

Ask for a voice vote.

You got a motion and a second.
MS. LANNIN:
voice vote on that.

So now, the vote.

Okay.

All right.

So a

All approved for the letters and

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the transcript?
(A chorus of ayes.)
Opposed?

Okay.

MR. TUCKER:

Nay.

MS. LANNIN:

10 to 1?

Thank you.

Let us move on.

Okay.

This is Dennis.
All right.
Here we go.

April, I think we're up to

Louisiana.
MS. STAFFORD:

Yes, ma'am.

Louisiana, we have two suggested concepts.

So for
One is

jazz music, and the other is The Higgins Boat.
If I could just ask for those who are
on the phone to mute your mics.
Dr. Brown, I believe you might need to
mute your mic.
MS. LANNIN:

Dr. Brown, mute your mic,

please.
Dr. Brown.
Dr. Brown.

Mute your mic, please.

Thank you.
MS. WARREN:
Jennifer.

Sorry.

I've done it.

This is

I'll go through everybody.

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MS. STAFFORD:
music and The Higgins Boat.

All righty.

So jazz

The required inscriptions

are "United States of America" and "Louisiana."
I will note, unfortunately, we don't
have a representative from the Governor's office with
us today on the call.

But the Governor has indicated

a strong preference for the theme The Higgins Boat, in
particular design number 13.

So I'll note that when

we get there.
First, we're going to look at the
candidate designs for the concept of jazz music.
Although it is difficult to pinpoint when jazz music
was born, there is little question where it
originated: New Orleans, Louisiana.

Congo Square in

New Orleans is thought to be the founding location for
the roots of jazz music.

Slaves would play drums on

"free Sundays" to keep their ancestral tradition alive
through rhythms and dance.
As the cultural landscape of New
Orleans continued to diversify, so did the music
culture of the city.

Influence from brass bands,

orchestras, Mardi Gras revelers, and ragtime groups

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combined to create a unique sound we know as jazz
music.

Jazz, known for improvisation, forceful

rhythm, and syncopation, quickly became a normal part
of life in New Orleans in the 19th century, as it was
woven throughout the community through events such as
Carnival, balls, and even funerals.
New Orleans jazz spread to other
cities, such as Chicago and New York, as musicians
performed on riverboats and show tours.

The magnitude

of its impact on the world can still be seen today by
the influence it has had on the music industry.
So we'll start with design 1 for
Louisiana.

This design depicts the explosion of riffs

and runs from an improvisational soloist, an element
that is unique to jazz music.
Design 2 depicts a baritone sax, a
trumpet, and a trombone juxtaposed in an impossible
space.

The sounds of jazz are visibly conveyed

through the confetti of shapes seen throughout the
background.

A uniquely American art form, jazz is

often described as cool, risky, dangerous, and a genre
that allows you to "break the rules."

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Design 3 features some of the most
popular musical instruments of jazz music, including a
trumpet, a trombone, both tenor and alto saxophones, a
bass drum, a clarinet, a double bass, a grand piano,
and a crash cymbal, illustrating the energy and
character of the music.

In the background, a full

moon adds to the ambiance of jazz music.
Design 4 depicts a trio of jazz
musicians during a performance and many iconic
traditions of jazz performers, including a harmonica,
bass, a fedora, and a pinstripe suit.

On the border

is the additional inscription "jazz."
Design 5 captures a close-up of a
women's mouth during a jazz performance.

Around the

border is a fleur-de-lis inspired motif, evoking the
state of Louisiana.
Designs 6 and 6A depict a singer
wrapped up within the surprising rhythms and
unpredictable elegance of jazz music.

She is

surrounded by lush magnolia blossoms and some of the
iconic instruments of the genre.

Design 6, seen here,

includes the additional inscription "the home of

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jazz," while 6A incuses the singer in the center
circle and includes the alternate inscription "the
start of jazz."
Design 7 features a central inscription
of the word "jazz," stylized with wrought ironwork
that is so often seen in the architecture of many
businesses and homes in the French Quarter.

The many

twists, turns, and flourishes of wrought iron mimic
the qualities that make jazz music unique.
Moving on to the second concept for the
state of Louisiana, The Higgins Boat.

Andrew Higgins,

the man behind Higgins Industries of New Orleans,
Louisiana, was known for being an innovator and an
entrepreneur.

Higgins developed the "Eureka" boat as

a craft that could easily navigate the shallow waters
of the Louisiana marshes and swamps.
This design would later be adapted to
military specifications for a landing craft.

In 1938,

the U.S. Navy and Marine Corps began testing what
became known as the "Higgins Boat," the boat that
would go on to change the course of World War II. The
Landing Craft Vehicle and Personnel, or Higgins Boat,

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allowed for military personnel, equipment, and
vehicles to easily unload onto an open beach through a
front ramp on the boat.

Having the capability to

maneuver in only 10 inches of water and creating more
attack points on the beach, the Higgins Boat changed
how the war was fought and dramatically improved the
outcome of the Normandy landings.
The unorthodox construction used
plywood to save money and steel.

23,358 of these

vehicles were made during World War II. As President
Dwight D. Eisenhower said in a 1964 interview quote,
"Andrew Higgins is the man who won the war for us,"
unquote.
So I will note that several of the
designs featuring The Higgins Boat may need minor
modifications to ensure accuracy.

And we can share

that as the committee focuses on a particular design.
I'll move through them.
Design 8 depicts a Higgins Boat as it
would have been deployed during World War II with its
innovative landing ramp open against a beach.
Designs 9 and 9A feature a group of

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Higgins Boats during World War II as they deploy
soldiers to their landing spot.
Design 10A depicts a group of Higgins
Boats below the horizon as troops deploy from the
landing ramp to the shore.
Design 11 depicts two Higgins Boats,
illustrating the landing ramp in both open and closed
positions.
Design 12 features a pair of Higgins
Boats, one empty with its landing ramp up and secured.
The second is beginning to offload troops and
equipment with the ramp deployed.
Design 13 depicts a Higgins Boat with
its ramp in the lowered position while troops actively
disembark at their chosen landing site.

The

additional inscription is "home of The Higgins Boat."
I will note that this is the preference of the
Governor of Louisiana.
MS. LANNIN:

Thank you very much,

April.
So Joe and Ron, do you have any issues
with any of the coins for Louisiana?

The designs.

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MR. MENNA:

This is Joe Menna.

MS. LANNIN:

Thank you, Joe.

I do

not.

Ron, you're okay with all that?
MR. HARRIGAL:
fine.

Yeah.

The designs are

This is Ron Harrigal.
MS. LANNIN:

Okay.

Does anybody in the

committee want to talk about any technical things for
these designs?
MR. SCARINCI:

No technical things, but

can I go first, Mary, when you get a chance?
MS. LANNIN:

Absolutely.

Why doesn't

Donald Scarinci go first.
MR. SCARINCI:
you know, we're in Louisiana.
It's jazz.

So I just want to say,
Right.

We're in jazz.

You know, so our choice here is something

that, you know, was such an innovation in music that
is uniquely American.

Uniquely American.

That

changed everything in music, that uplifted people,
that took people's spirits up and made them soar,
lifted them out of their life, out of their daily
squalor, and you know, made them happy, inspired them.

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You know, and we still today are inspired by jazz and
by the influence that jazz has had on our lives.
all of our lives.

Everyday.

On

When we turn on the

radio in our car, there's inspiration.
On the other hand, we have a coin that
each one of the designs, none of them are particularly
compelling, and what they want to commemorate at the
end of the day, yeah, it was a fight for freedom, but
it killed people.

The thing killed people.

So are we going to vote for something
that inspired people and lifted people up or something
that killed people?

And honestly, every single one of

these jazz designs is gorgeous.

So to me,

notwithstanding what the state wants, I think it's
jazz.

This is a no-brainer to me.

And you know, I

will go with any one of these jazz designs because
they're all gorgeous.

The artist did a fabulous job.

But of course, they did a fabulous job.

They're

dealing with something that inspires, and they
probably were playing jazz when they designed the
coin.
You know, this is a no-brainer to me.

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So I'm sorry, but I'll go with anything from 1 to 7,
and I'll listen, you know, to any of the design
elements.

You know, they're all beautiful coins, and

they would make great designs.

My least favorite, you

know, would probably be, you know, design number 4.
But honestly, you know, I'll compromise just to get
one of the jazz designs.

That's it.

MS. LANNIN:

Thank you, Donald.

What I

like about you is you never have an opinion.
Dean Kotlowski, please.
DR. KOTLOWSKI:

Thank you, Madam

Chairperson.
And I'm going to put my video on.
is just a little bit of explanation here.

I've been

kind of on and off with the video and the mute.
feel like I'm under siege.

This

I

I had leaf blowers on one

side and lawnmowers on the other.

So many apologies.

I find myself agreeing quite a bit with
Don, actually.

This is a tough choice.

Again, I wish

we could give out two coins to Louisiana because the
Eisenhower quote was extremely important with The
Higgins Boat.

I, again, you know, building on what

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Don said, he said it very strongly and very
forcefully.

I really wasn't taken tremendously with

any of the designs with The Higgins Boat.

Nothing

really stood out for me.
And again, Don, following in your
footsteps and being opinionated, I really didn't like
number 13.

I thought it focused too much on the idea

of combat.

I mean, I understand that's ultimately

what this was about, and it was about freedom, and it
was about winning the war.
important.

All of this is very, very

It's important stuff, but we do an awful

lot with the military.
And you know, some of the other
designs, 9 and 9A, I had to look at that very, very
carefully.

And it's not my intention to be real

critical of the artist.

I thought, having visited

Europe, that there was some sort of, like, castle or a
fortress in the background, and they were landing on
the beaches.
succession.

I didn't see that as three boats in
So I'm not sure which of The Higgins

Boats I would have gone for.

I might have just gone

for the safe choice, which was 10A, which somehow

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manages to combine the boats and the people.
But I really had a favorite with the
jazz, and that was number 5.
cool.

I thought it was very

I thought it was extraordinarily modern.

broke rules by not having the word "jazz" there.
having musical instruments.

It
And

I wasn't really taken

with a lot of the designs that had the musical
instrument.

I saw the point, but I didn't find them

tremendously inspiring.

And I love the fleur-de-lis.

I thought that this was really wonderful, and having a
woman singing here, I got a sense of liberation here.
And inspiration.

And I think that this was just

amazing and wonderful.
And the very last point that I'm going
to raise because I seem to be going on quite a bit
today, I'll give a shoutout to 6 and 6A, which were a
little busy, and I didn't quite get the flower.

But I

also liked number 7, just for the simplicity and the
power.
Thank you, Madam Chairperson.
MS. LANNIN:

Thank you so much, Dean.

Mr. Mike Moran, please.

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MR. MORAN:
about that.

I'm here, Mary.

A little slow on the mute.

Sorry

I was really

trying to digest Dean's comments.
I'm not a fan of The Higgins Boat
designs.

I thought they were average at best.

And I

can go on with a few variations with what Donald said
on all of it there, as well as Dean.
I liked number 1.

It's jazz.

I thought there was

just enough negative space there to make that one go.
I like the way they handled the inscriptions.

I

thought it was very artistic and well done.
I would call attention to 6 and 6A, and
just the one little change to me made all the
difference in the world, and that's the going
with -- instead of the detail of the singer and the
microphone -- going with the silhouette.

I'm assuming

that would be incused, and I think that makes a really
good design.

So I'm going to be voting for 1 and 6A.

Thank you.
MS. LANNIN:

Thank you so much, Mike.

Peter van Alfen.
DR. VAN ALFEN:

Thank you, Madam Chair.

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I have to admit that I wasn't
particularly moved by a lot of The Higgins Boat
depictions as well.

In fact, I found that the

Governor's preference, you know, really did seem to
focus much more on the combatants, the soldiers, than
the boat itself.

Which, you know, is a little unusual

considering the fact that it really should be about
the boat.
For that reason, you know, the design
number 11, which focuses only on the boat, you know,
would be my preference here.

You know, again, partly

because of the simplicity of this design without a lot
of the confusion of the combat behind it.
I do have to agree that I find jazz to
be a much more uplifting innovation, but I didn't
really find myself particularly moved by a lot of the
designs in the jazz portfolio.

I do agree with Dean

that number 5 is a rather intriguing design, and I
think that this would be my preference for the jazz
portfolio.
And I do like number 7 as well.
just because of the simplicity.

Again,

So that's what I've

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got to say.

Thank you.
MS. LANNIN:

Thank you, Peter.

Tom Uram, please.
MR. URAM:

Thank you, Madam Chair.

I'm kind of going to make it simple as
well.

I'm going with 6A, and the reason why is, first

of all, I believe that's the state flower of
Louisiana.

And I do like 5 -- I'd like to see the

fleur-de-lis on 6A.

It's too bad it's not there, but

it would have been fine had it been next to the
trumpet or near that saxophone.
But I like the keyboard wraps around
and becomes a drum symbol, and then you have the lady
singing, or whoever you want to make it believe is
singing in the symbol of the drum.

So I just think it

wraps uniquely a lot of Louisiana history into one.
So I'm going with 6A.

That's it.

MS. LANNIN:

Thanks, Tom.

Robin Salmon, please.
MS. SALMON:

Yeah.

jazz as the theme for this coin.

I also preferred
I did like number 1.

The fact that it is slightly off-center appeals to me.

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I also like the fact that it's depicting
improvisation.
about.

And to me, that's what jazz is all

The lettering is nice, and it's not terribly

complicated.
Number 6A also caught my eye.

That is

the magnolia, the state flower of Mississippi [sic].
The counterclockwise movement, all of that I found
very appealing, and I think it would make a nice
design.
And number 7, I also liked.

Not only

for the wrought iron reference and the simplicity, but
it's probably the least complicated of all of these
designs, and I think it still sends a strong message
about the history of jazz.
MS. LANNIN:

Thank you.
Thanks so much, Robin.

Sam Gill, please.
MR. GILL:

Thank you, Madam Chair.

Well, Donald started this conversation
off perfectly for me.

Varied for me with The Higgins

Boat, and just, I quite honestly, just didn't even
consider it for this series, for my opinion.
the designs for jazz.

I love

I love the notion of the jazz,

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and I'm all for that.
I like 6 and 6A very, very much.

I'd

prefer 6A probably, but I liked the wording "home of
jazz" instead of "the start of jazz."

And that's just

my personal preference because I would like that
Louisiana to be designated as the home of jazz.
I also like number 7 for the
simplicity, as Robin says.
message across.

And it certainly gets the

But I'm definitely a jazz fan and

would like to see this coin go in that direction.
Thank you very much.
MS. LANNIN:

Thank you, Sam.

Dennis Tucker.
MR. TUCKER:

Thank you, Madam Chair.

I think that this portfolio, the choice
between either jazz music or The Higgins Boat, helps
put to rest this artificial construct that we need to
make a decision between scientific innovation and
cultural innovation.

I think there's room for all of

these different types of innovation in this program.
So just as Ohio's Governor affirmed that, I believe
that Louisiana's Governor affirms that as well.

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Innovation can be spiritual, can be
humanistic, musical, artistic, et cetera.
organic.

It doesn't need to be technical.

It can be
It doesn't

need to be a scientist sitting down at a draft table
and coming up with an engineering plan.
Innovation, going back to my definition
from earlier, is the creation of something that
improves the way we live our lives.
something that addresses a need.

And it's

In this case, jazz

was a way to keep ancestral traditions alive, and The
Higgins Boat was a way to win a war.

Both served very

important needs -- but very different.
My preference is for jazz for
Louisiana.

And I really like design number 1.

As

Robin said, there's something energetic about the way
it's presented off balance and the way the word "jazz"
is incorporated into the perimeter.

I like the energy

and the uniqueness of this design style.
I also liked number 4.

I thought that

was an interesting style for this particular theme.
like 5.

7 caught my eye.

But I don't want to dilute

too much my focus on number 1 as my choice for the

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strongest, most energetic, and "jazzy" of the jazz
designs.
MS. LANNIN:

Thank you, Dennis.

Dr. Lawrence Brown.
DR. BROWN:

This is Lawrence Brown.

And Madam Chair, thank you so much for having me to
come near the end of the comments by my colleagues
because I find myself a bit in the opposite direction
of what I was in the last selection of Ohio.
I think Dennis made some good comments
with respect to the fact of when we talk about
innovation.

And as much as I would probably lean in

the direction of jazz, as someone who served in the
military, as someone who has been somewhat of an
admirer of one of our most famous Presidents, who was,
in fact, a general in World War II, when he says that
this won the war for us, that allowed us to have
generations of us who are here today because many of
us may have had ancestors who, in fact, were in that
great war, and were it not for this boat, might have
not been able to survive.
So as much as I can't say I loved the

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designs of The Higgins Boat, I want to make sure the
public understands that this is not a slam dunk.

This

is, in fact, quite challenging to really say, at least
for me as someone who is a veteran of the military.
And again, in the interest of
transparency, I flew to my position.
States to Vietnam.

I flew from the

I did not take a boat, nor was I

on a boat anytime that I was there.

But when I think

about the great war, and in fact, how many people that
we've lost, and hear about this, I think as
unattractive as the design is, the significance is, to
me, substantially much more.
So while I will vote for, in fact, jazz
because I am certainly a supporter of jazz music, more
contemporary than -- but still, I just wanted to say
that if I -- on the citizens of the United
States -- say that this indeed was an important
innovation for all Americans.
MS. LANNIN:

Thank you.

Thank you.

Art Bernstein, please.
MR. BERNSTEIN:

This is Art Bernstein.

And if the purpose of these meetings is that we listen

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to our colleagues and hear what they have to say, and
consider their opinions, I have to tell you that it's
been a big success today because I came into this
conversation absolutely convinced that the coin had to
be The Higgins Boat.
And I still think there's merit in
that, but as I heard the discussion about jazz, I've
completely switched my position in the last 10
minutes.

And I think I'll be casting my votes for the

design number 7.

Now that I'm convinced jazz is the

way to go, that particular design with the iron
filigree detail, to me that word just jumps off of the
coin, sends the message, and that's the design I like
the best.

Thank you.
MS. LANNIN:

Thank you, Art.

You're

new on the committee, but I totally agree with you.
My favorite design of all was number 7.
It's the tabletop test that I keep talking about.

If

we had all of these designs on a coin and put them all
on a counter, which one would you pick up?

And I bet

everybody wants to feel the reliefs on the "jazz" in
design 7.

I think that the Mint could do so much

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really cool stuff with it.

It's clean.

It's simple.

The filigree of the wrought iron railings reminds you
of being in the French Quarter, reminds you of good
times that you have, and also, jazz is an ongoing
innovation.
You know, you don't go back to hear the
same song over and over.

There is no same song over

and over.

It just changes.

number 7.

Although, I really see the merits of people

that liked number 1.

So my favorite of all is

I like the way the "jazz" was

worked into the coin at that point -- or the design at
that point.
So that is my opinion.

And do we have

any further comments to be made?
MR. SCARINCI:
MS. LANNIN:
MR. SCARINCI:

Mary?
Yeah?
I just want to say

something very briefly in response to Dennis because I
don't want to leave what Dennis said un-responded to.
MS. LANNIN:
MR. SCARINCI:

Okay.
You know, and I just

don't want that comparison between an innovation in

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art and the underground railroad, you know, which is
history to stand.

I mean, you know, for millennia,

there was -- you know -- there was injustice, and
there was slavery, and there was man's inhumanity to
man.

And there were others who couldn't stand by and

watch that inhumanity occur, and they responded with
their compassion and put their lives at risk to save
others.

You know, even though in the face of

inhumanity, they did that.
That wasn't innovation.
compassion.

That was human

And that was, you know, an absolute

desire to, you know, to eradicate injustice.

And we

all share that desire and need to eradicate injustice.
The underground railroad, you know, wasn't an
innovation, you know.

There's no comparison to that

as an innovation and innovations in other areas.
So for example, if New York were to
come back to us, you know, and put a Jackson Pollock
picture, you know, as something that they want to
consider an innovation in art, you know, that's an
innovation that changed art.
Right.

It changed the paradigm.

So I don't think the two things are

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equivalent.
You know, I don't want to revisit the
discussion about history, but we just voted on a very
important piece of history.
history.

But Ohio, that coin is

That's not innovation.

So you can't

convince me that the underground railroad was
innovation.

And so that you know, here in New Jersey,

there's -- you know -- I'm actually one of the big
contributors to the Ackerman House in Passaic.
The Ackerman House was part of the
underground railroad in New Jersey, which we in New
Jersey are very proud of.

And the Ackerman House was

part of the underground railroad, and what they did,
was they built a tunnel that went into the Passaic
River, which wasn't polluted the way it is today.

And

that's how we -- you know -- that's how we moved, you
know, people seeking freedom, you know, to get their
freedom.
So you know, an innovation, no.

No.

No more of an innovation than, you know, what human
beings did to save other human beings during World War
II and hiding them, and feeding them, and making sure

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that they were safe, and putting their own lives at
risk to do that.

Important.

them, absolutely yes.

Are they heroes?

An innovation, no.

All of

That's all

I wanted to say.
MS. LANNIN:

Okay.

Thanks, Donald.

You're on the record with that.
All right.
MR. TUCKER:
Dennis.

Madam Chair, this is

If I can respond to that, I will do so

briefly.
MS. LANNIN:

Okay.

MR. TUCKER:

And Donald, I know that

you and I are probably going to have similar
disagreements in the future, which is fine.

I do

believe that the underground railroad is an innovation
of communication, transportation, logistics, and
organization, even though, as we noted, it was not a
centralized effort in that sense.
It was an innovation that had important
consequences.

It delivered tens of thousands of

slaves to freedom.

So you know, it addressed a need,

as innovations do.

It was woven into the culture and

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politics of the time and of succeeding years.

It

influenced American laws and encouraged the South to
push for stronger fugitive slave acts, which of
course, affected national politics, exacerbated the
disagreements between North and South, which, you
know, of course, led to the Civil War.
So it was significant.

I guess we'll

just have to disagree on whether or not it was an
innovation.

I think -MS. LANNIN:

Okay.

You both --

Thank you, Dennis.

opinions.

MR. TUCKER:

You think --

MS. LANNIN:

Okay.

You both have your

They're on the record now.

And I think we

need to vote on the Louisiana art, please.
So if you take a look at your sheets
and can fill them and we can get them to Greg, it is
2:47.

If we have about 10 minutes.

three o'clock.

We're almost at

We can finish with Louisiana.

Thank

you.
UNIDENTIFIED SPEAKER:
DR. VAN ALFEN:

Thank you.

Madam Chair, this is

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Peter van Alfen.
MS. LANNIN:

Yes, Peter?

DR. VAN ALFEN:

While we're waiting if

I can just make a comment as well about the
innovation.

I skimmed over Public Law 115-197.

It

does not define innovation, which means then that it
is basically up to the states themselves to define,
you know, what innovation is for themselves and to
come up with concepts.

So I'm not really sure if it

is our place to decide what innovation is or is not,
but rather just deal with, you know, what is sent our
way in terms of the designs.
I think that both Donald and Dennis
have made compelling arguments one way or the other,
but again, because the law does not define innovation,
you know, our hands in this matter, I think, are
effectively tied.

Thank you.

MS. LANNIN:

Thank you for your

comments, Peter.
DR. KOTLOWSKI:

Madam Chair, this is

Dean Kotlowski.
MS. LANNIN:

Yes, Dean?

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DR. KOTLOWSKI:

Yeah.

I'm not going to

enter this conversation or this particular subtopic,
but I just wanted to say something.

Don made a very,

very good point about New Jersey having its own
underground railroad.

And Indiana was very, very

active in the underground railroad, and Levi Coffin
was in Indiana, and he was reputedly the president of
the underground railroad, so you get different states
that can make claims on the underground railroad.
And it's interesting as we go forward
with this innovation series.

I think we've talked

about this in other points, but this is something that
I think we were briefed on, that multiple states can
make claims about being innovators in the same area,
and that's okay.

And Indiana, as we're going to see,

chose not to do this.

New Jersey chose not to do this

with the underground railroad.
could have.

And Ohio did.

Pennsylvania also

So it's trying to strike

that balance.
Don, if I can address you personally,
when we were looking at the snowboarding with Vermont,
it was actually a couple of guys from New Jersey who

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developed the snowboard, so I was actually going to
say something when we were doing that quite a while
ago.

And actually, snowboarding really took off in

Michigan.
But when we were discussing this, I
mean, part of it is state cultural identity.

And we

can challenge that, and we can play into it.

It's

really circumstantial what we want to do with each
coin.

And Vermont obviously felt winter sports is

really important, and snowboarding.

And you know, I

don't want to revisit that, but it's like there are
really no rules with this innovation.
I mean, this is America at its best.
This is pragmatism, our homegrown philosophy.

And we

just play it case by case, and that's what I'm doing
right now.
MR. WEINMAN:

Real quickly.

Sorry.

Robin, I got a blank e-mail from you.
I didn't get a sheet.
MR. BERNSTEIN:

I'm pleased to see how

much discussion the state of Ohio is getting.
MS. LANNIN:

Glad to hear it.

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You know, this is what

MR. SCARINCI:
numismatics -MS. WARREN:
Reminder.

This is Jennifer.

Please, identify yourselves.

You're still

on the record, and the reporter can't tell who is who.
MR. SCARINCI:

Thank you, Jennifer.

Thank you.
This is Donald Scarinci.
And you know, this is what numismatics
is all about.
debates.

You know, it's about having, you know,

It's about thinking -- you know --

presenting this on a coin, and having these kinds
of -- you know -- these kinds of debates and
discussions and dialogue.

And this is why a lot of

people get involved in numismatics because it does
inspire this exact conversation that we're having
here.
And you know, as time passes and these
coins, you know, become coins and become collected and
become, you know, put in holders, and you know, and
part of the nation's, you know, numismatic history,
they're going to read our transcript, and it's part of

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the numismatic record.

And what we are discussing is

really, you know, just scratching the surface of what
a lot of people are going to be writing about.
You know, which is why, you know,
people like us are so focused on it and spend so much
time on it, you know, because we are collectors.
you know, we are inspired by this.

And

So these are very

important dialogues, and we won't always all agree.
You know, but it's the dialogue that makes this
America.
MR. WEINMAN:

Excuse me a second.

Robin, did you get my message?

Did you

hear me earlier that there was no attachment to your
e-mail?
Okay.
through.

Never mind.

It just came

Thank you, Robin.
MS. SALMON:
MR. WEINMAN:

Okay.

Good.

Donald, are you there?

This is Greg.
Donald?

Can you hear me?

MS. WARREN:
MR. WEINMAN:

Greg, he just got back.
Donald, check the text to

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me.

I want to make sure that it's clear.

Look at

your first text, and then look at your second one.
MR. SCARINCI:

Yeah.

MR. WEINMAN:

Got it.

I'll send it

again.
Thanks.

Okay, Mary.

We're ready.

MS. LANNIN:

Okay, Greg.

If

everybody's back, would you please read out the vote
count?
MR. WEINMAN:

Yes.

Once again, out of

33, design 1 has 15 points, design 2 has 4 points,
design 3 has 3 points, design 4 has 4 points, design 5
has 10 points, design 6 has 10 points, design 6A has
20 points, design 7 has 22 points, making it the high
vote-getter.

Design 8 has 3, design 9 has 4, design

9A has 4, design 10A has 4, design 11 has 7, design 12
has 4, design 13 has 5.
So once again, the high vote-getter was
7 with 22 points, followed closely behind by 6A with
20 points.
MS. LANNIN:
Let's see.

Thank you very much, Greg.
Maybe we could get that up

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on the screen if we could, design number 7.
So does anybody have any further debate
on this design?

I think it's terrific.
MR. MORAN:

Mary, this is Mike Moran.

MS. LANNIN:
MR. MORAN:
between 6 and 6A?

All right.
Do we have a split vote

Because sometimes we do, and

there's not a lot of difference between those two
designs, and in this case, that would make a
difference.
MR. WEINMAN:

You do.

I mean,

obviously, 6 only garnered a score of 10, 6A garnered
a score of 20.
MR. MORAN:

Greg, did anybody vote for

6 and not vote for 6A?
MR. WEINMAN:
MR. MORAN:

Okay.

MR. WEINMAN:
and didn't vote for 6A.

No.

No.

Enough said.
No one voted for 6

That is correct.

MR. MORAN:
MS. LANNIN:

I'm done.
All right.

So it seems

that we have a winner in number 7, which I think is

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going to be texturally and visually a beautiful
reverse.

Thank you very much for that.
Are there any further motions on that?
Okay.

I don't hear anything, so we

will go back to April Stafford to talk to us about the
state of Indiana design for the American Innovation $1
Coin.
MS. STAFFORD:

Thank you, Madam Chair.

Indiana has a single concept submitted.
It is for the automobile industry.

Indiana boasts a

long history of innovation in automobile manufacturing
and promoting the role of the automobile in American
culture.

Hoosiers played a role in the invention,

refinement, and manufacturing of headlights, rearview
mirrors, tilt steering, cruise control, pneumatic
rubber tires, and car heaters.

Indiana produced a

prolific number of auto parts manufacturing and
automobile manufacturers, including Marmon,
Studebaker, Stutz, and Duesenberg.

Hoosiers also

promoted the automobile in American popular culture
through car racing and long-distance highways.
Carl Fisher, who was among the most

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prolific Hoosiers in the automobile industry, has a
legacy that includes the promotion and distribution of
an early form of headlights for motor vehicles in the
U.S. auto industry, his early automobile dealership,
and the creation of the Indianapolis 500.

Today, the

Indy 500 is one of the world's oldest currently
operational automobile races and the world's largest
sporting event in terms of attendance, and it is
considered part of the Triple Crown of Motorsport.
Fisher also conceived of and promoted, the
transcontinental east-west Lincoln Highway, the first
automobile-specific transcontinental highway across
the United States.
Inventors Ralph Teetor and Sylvanus
Bowser were among many Hoosiers contributing
inventions that would become standard on the modern
automobile.

Teetor, who lost his sight in a childhood

accident, was an engineer and prolific inventor.

He

invented cruise control to improve safety and fuel
efficiency.

Bowser is widely credited with inventing

the automobile fuel pump.

The introduction of

automobiles, mainly powered by gasoline, led him to

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develop the "Self-Measuring Gasoline Storage Pump,"
launched in 1905.
Required inscriptions are "United
States of America" and "Indiana."
And I should note that although we do
not have a representative from the Indiana Governor's
office, we do know that the governor has indicated a
preference for design 5 in this portfolio, and you see
that here.

In particular, we understood that this

design was preferred by the Governor because it
depicts the history all the way to the modern-day
technology involved in the automobile industry, and in
this way also asks the question, "What could be next?"
for this industry.
All right.

Let's start with design 1.

This design depicts a wheel design inspired by a 1920s
Marmon automobile.

The Marmon Wasp won the inaugural

Indianapolis 500 in 1911.
Design 2 features an imagined dashboard
superimposed over the image of a pneumatic rubber
tire.

The dashboard contains many of the conveniences

brought to automobiles by Indiana inventors or

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manufacturers, including a rearview minor, acetylene
headlamps, a tilt steering wheel, cruise control, and
a car heater.
Design 3 showcases several of the
innovations that Indiana companies and inventors
contributed to the automobile industry.

A gas pump

and speedometer are seen across the top half of the
design.

Across the bottom, a race car speeds by on a

stylized road and references the advancements made in
motorsports.
Design 4 depicts a progression of car
styles through the years.

Many innovative automakers

contributed to the development of automobiles in
Indiana, as well as many improvements in safety and
convenience.
Design 5, again the preference of the
Governor's office, features a series of vehicles that
showcase innovations from yesterday and today.

From

top to bottom, the design includes an early style gas
automobile, a representation of classic car
production, and a recent model of an Indy-style race
car.

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Design 6 represents the growing
popularity of racing in Indiana, with a
turn-of-the-century race car positioned at the
starting line.

Racing necessitated several automobile

improvements, including the addition of a rearview
mirror.
Design 7 depicts a single touring car
from the 1920s, representing Indiana's automotive
innovations.

The classic silhouette represents a time

when many companies in Indiana were focused on
manufacturing and engineering for the automobile or
its parts.
Design 8 juxtaposes a portion of an
early gear shifting mechanism with a vehicle in which
it may have been installed, representing many of the
ways Indiana companies contributed to the automobile
industry.
Designs 9, 9A, 10, and 11 depict a gas
pump, a most necessary item for travel by car.

It is

paired with a sedan positioned above a map of the
Lincoln Highway, the first coast-to-coast highway,
proposed by Carl Fisher of Indiana.

The additional

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inscription is "automotive pioneers."

9A alters the

placement of the Lincoln Highway in the design.
Design 10 removes the gas pump and includes an
original Lincoln Highway marker, along the alternate
inscription "automotive ideas and innovation."

And

design 11 includes both the Lincoln Highway marker and
the gas pump.
That concludes the candidate designs
for Indiana, Madam Chair.
MS. LANNIN:

Thank you very much,

April.
I would like to start with Dr. Peter
van Alfen, please.
DR. VAN ALFEN:

Thank you, Madam Chair.

I have to admit, I found some of the
designs in this portfolio really quite compelling,
particularly numbers 1 through 3.

From a design

perspective, I really quite liked them.

My concern,

however, is that it might not be entirely clear that
these are always associated with automobiles,
especially number 2.

You know, just looking at that

on a coin, it might not be immediately clear what that

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design depicts, even though I do find that, you know,
quite compelling.
I do have some issues with the
Governor's choice of number 5, simply because the
design seems to depict a 1896 Ford Quadricycle, which
was actually made in Michigan.

And the modern

Indy-style racing car may or may not have been
manufactured in Indiana.
might have been.

The Duesenberg in the middle

But you know, again, you know, the

association with Indiana is not particularly strong
here, and I don't find this a particularly compelling
design nonetheless.
I think that in terms of associating
automobiles and Indiana, number 6 probably is the
strongest design, and also just immediately brings to
mind the Indy 500, which you know, again, is very
closely associated both with, you know, automobiles,
automobile racing, and Indiana.

So this would be my

preference out of the portfolio.
MS. LANNIN:

Okay.

Thank you.
Thank you so much,

Peter.
Dr. Dean Kotlowski.

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DR. KOTLOWSKI:

Thank you, Madam

Chairperson.
I find myself agreeing quite a bit with
Peter's comments.

I think this is a good example of

how multiple states can claim an innovation.

When you

think about automobiles, you, of course, think of
Michigan and Detroit, but Indiana was huge in this
area.

In the height of American manufacturing, it

ranked either second behind Michigan or third behind
Michigan and Ohio.

Very, very important.

And like Peter, I found the first
three, number 1, 2, and 3, to be quite compelling.
It's not going to surprise anybody that I like number
1 the best.

I like this design.

We had a chance to

do a design like this for the Pennsylvania turnpike.
I think the tire, the simplicity, the circularity, I
think it's a real winner.
And again, just to reiterate Peter, and
Madam Chair, the test you mentioned before about
picking up a coin.
table.

Number 1, I would pick up on a

And I want to also pick up number 2 and try to

figure out what it was.

But number 2 might make me

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too hard in terms of trying to get it all straight.
But it's a very strong design, as is number 3.

I like

the play of the circles, the circular nature, and the
angles, and bringing it all together.
And just to conclude my comments, Peter
had me see number 6 in a new light, and I may give
that some points.

I just didn't find number 5

tremendously moving or inspiring.

It just seemed that

these three automotive vehicles were merging together.
And I see what the Governor was trying to do here in
emphasizing a kind of evolution here to the Indy car,
which is, again, what you associate with Indiana.
But Indiana automotive history is much
more than the Indy car.
General Motors towns.

Muncie and Anderson were big

So I'm going to give most of my

support to 1, 2, and 3.

And the later ones that

showed the Lincoln Highway are at least worth a
shoutout there for the Lincoln Highway, but the gas
pump was a little bit too prominent for me for those.
Thank you very much, Madam Chair.
MS. LANNIN:

Thanks so much, Dean.

Tom Uram.

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MR. URAM:

Thanks, Mary.

Can you hear

me okay?
MS. LANNIN:
MR. URAM:

I can hear you just fine.
Okay.

This might be a

chance for me to get some redemption with the artist
as it relates to the tire and being alluded to with
Pennsylvania.

So I'm all in on 1 and 2, and I'm

probably all in more on number 2 than I am number 1.
I liked them both, but with all the innovations that
are encircled there, I think it says a lot.
And keep in mind, this is a
noncirculating coin.

It's going to come in a package

with a lot of detail and a lot of information.

So

it's not a case where we really have to try and figure
some of the things out because they will be there.
So I'm all in probably more on 2 than
1, but I hope it's the same artist.

And I hope it's

the same artist from the Pennsylvania Turnpike, and
because obviously, I went strongly with Polio vaccine
innovation.

But I'm going to give all the artist here

some high merits.
ideas.

I think that this was a lot of good

I really like the number 3 there, the use of

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the quarter page, and the half-page, and the bottom
quarter kind of breaking it out.
as well.

That's very clever

But I'm going to go number 2 pretty much

here for the tire and with the availability of all the
description within the packaging and so forth.
So thank you, Madam Chair.
MS. LANNIN:

Okay.

Thanks so much,

Tom.
Arthur Bernstein, please.
MR. BERNSTEIN:

This is Art Bernstein,

and I echo everything I've heard so far.

I like the

circularity of 02 with the geometric inside of it and
all the different innovations featured on the coin,
and I think we're getting a lot for our money on that
particular coin.
I also like 06.

Much like the comment

I made concerning the jazz coin a moment ago, to me,
in 06, the historical racecar seems to be coming right
at you.

It's very dramatic, and I like the way it's

presented.

Thank you.
MS. LANNIN:

Thanks so much, Art.

Robin Salmon, please.

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This is Robin Salmon.

MS. SALMON:

1,

2, and 3, of course, grabbed me for all the same
reasons that they've grabbed everyone else.

Because

it is a coin that comes with a lot of information, I
think anyone of those three designs can be utilized
and be strong.
appealing.

People will like them.

They'll be

Using Mary's test, I think it works for

any of those.
If I had a choice over any of the
three, I'd probably go a little bit more toward number
3, simply because of the variations and curves, circle
designs, right angles.
many reasons.

That just appeals to me for so

And I also like the fact that

"automobile industry" was added in.
is on its side.

And that Indiana

I like that.
I thought that all of these designs

were quite interesting.
of thought into it.
thinking about.

The artist really put a lot

And those are the three that I'm

Thank you.
MS. LANNIN:

Thanks so much, Robin.

Sam Gill.
MR. GILL:

Thank you, Madam Chair.

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As many of you know, I like coins that
kind of tell a story.

And I like number 11 because it

captures the Indiana's love of automobiles and how
quickly they adapted them for their long ways between
cities there.

I love the old gas pump and then the

Lincoln Highway.

So that would probably be my number

1.
But I hear everybody on number 3.
think that's very, very innovative.

I

I like it a lot.

And I like number 6 as well because the brickyard is
something else and something to behold.

So the art is

quite good on all of these, and I'd be happy with any
of those that I just talked about.
MS. LANNIN:

Thank you so much.

Thank you so much, Sam.

Dennis Tucker.
MR. TUCKER:

Thank you, Madam Chair.

And I agree with you, Sam.

I found

this portfolio to be challenging because there's so
much good craftsmanship in it, and I love old cars.
So for me, this was a challenging portfolio in a good
way.
I found my eye drawn to number 4

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because of its unique perspective.

I think this was

one of the first coins, maybe the only coin I've seen
where there's a first-person perspective with an
automobile.

It's showing you, the viewer, as seated

in the car looking out.
that.

And I was really struck by

I thought that was a remarkable way to frame

this theme.

And then, it's got automobiles from other

eras, and it spells out the significance of the theme,
"innovative automobile engineering," and the name of
the state is nice and big.

So number 4 had a lot

going for it for me.
Number 5, to me, was a bit -- how to
put this.

I feel like it depends too much on fading

to dazzle us here.

And obviously, when a coin is

struck, it's going to be struck in an alloy, and those
nuances of fading will not be as pronounced as they
are in a drawing.

I also worry a bit about the

fineness of the detail.
And something that I often say in our
committee meetings is that you'd be surprised how much
detail the Mint's artists really can put in a small
one-inch or slightly bigger canvas.

So I don't think

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that fine detail is necessarily a bad thing, but
overly busy detail can be distracting to the eye.

And

I think that this one on a canvas this size, I think
design 5 would start to show some weaknesses.
I like 6.

I think 6 is actually one of

the most well-balanced designs in this portfolio.
like its use of white space.

I

It spells out what it's

about, and it's just a neat design.

It's a great view

of this automobile, and I think it has a lot of
appeal.

I think for these reasons, numbers 4 and 6

are going to get my strongest support.
Congratulations to the Mint's artist
and the AIP artist who submitted for this portfolio.
Wonderful designs.
Thank you, Madam Chair.
MS. LANNIN:

Okay.

Thanks, Dennis.

Dr. Lawrence Brown.
DR. BROWN:
Lawrence Brown.

Good afternoon.

This is

And I'd like to echo a lot of the

comments by my colleagues.

This is phenomenal.

again, I want to salute the artist for that.

And

If I

haven't said so already, this was, in fact, a major

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contribution, and I really appreciate it from the
standpoint of the general public.
For the benefit of, in fact, being
expeditious, I would lean towards designs 3, 4, and 6.
Those are the ones that I was most impressed with.
So I will end it there, Madam Chair.
MS. LANNIN:

Okay.

Thank you so much.

Donald Scarinci.
Donald, are you there?
MR. SCARINCI:
MS. LANNIN:
MR. SCARINCI:
earlier about design 1.

Okay.

Yes.

Okay.
So I like what Dean said

You know, I, you know, I just

think that's a -- you know -- a very -- you know -very compelling design.

I liked it in the previous

coins we've considered, and I like it no less here.
And you know, I think some of the other, you know,
designs are -- you know -- are very nice, you know,
but the one -- 2 just -- you know -- I think, really,
Dean hit it right on.
2 makes you -- you know -- makes you
kind of look at it, and wonder, kind of, what it is.

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And maybe you can figure it out, and maybe you can't.
You know, it's so different than anything that
we're -- you know -- that we know today.

Whereas,

number 1, you know, is what it is, and it's pretty
clear.

So I think number 1 is the choice.
MS. LANNIN:

Okay.

Thank you, Donald.

Michael Moran.
MR. MORAN:
Mike Moran.

Okay.

Thank you, Mary.

I'm almost clean up here,

so I won't go over all of these.

To me, I think

there's some special attributes to number 3 that need
to be emphasized.

Most of you have already hit those.

But the way it divides the coin up into, basically,
uneven quadrants, and then turns right around and ties
it all back together with the fictionalized road and
the gasoline hose, or the pump, and it's all out of
balance, and yet, it is in balance.
I think it's excellent, and it's one of
the more innovative compositions -- that's the word I
want -- compositions to express a design theme that
I've seen.

So I'm putting my votes on this one.
Thank you, Mary.

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MS. LANNIN:

Okay.

Thanks, Mike.

And I agree with most of my colleagues
that said number 1, 2, and 3 were just eye-catching.
I totally agree with that.

I initially wanted to make

number 1 my favorite until I looked up the
headquarters of Goodrich, which is North Carolina, and
Goodyear, which is in Ohio.

So I think those states

might be a little bit miffed that the automobile tire
was attached to Indiana, shall we say.

But I really,

really, really like this design.
2, I completely agree with Dean.

You

know, you have to puzzle over it for a while, and then
you just give up.
News to me.

That's a heater at the bottom?

I have no idea.
I like 3.

I love the fact that Indiana

is turned upside down on its head.
in the gas station.
like the road.

It matches the gas

I like everything about it.

I

I like the fact that the gas pump

handle is kind of in the air.

You just filled your

car, and you're ready to go on the road.
"automobile industry."

And it says

I don't know how much more we

could explain it other than 3.

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I think number 5, which is the
Governor's selection, has just got too much stuff
going on.

As Peter brought up, these cars may or may

not have been assembled in Indiana, and as someone who
needs the opportunity, shall I say, to answer the
letters that people write in.

When we choose art for

coins that they disagree with, people are looking at
every single tiny thing.

the job done.

And so to me, 3 is whimsical.

It gets

I think I'm in a convertible.

It's a

sunny day, and let's go.

I think that number 3 gets

all my votes.
So does anybody have any further things
that they want to add about this portfolio?
We're all so quiet.
All right.

Does anybody from the Mint

have anything to say about the portfolio?
Okay.

Hearing no comments, please

e-mail your scores, or text them to Greg.
now 3:22.

And it is

We will see if we can't get this done by

possibly 3:30 or so.
MR. WEINMAN:

I'm ready for you.

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Thank you.

MS. LANNIN:
MR. WEINMAN:

Send them forward.

Tom, I don't understand your message.
Take a look at it again.
DR. BROWN:

Mary?

MS. LANNIN:
DR. BROWN:

Yeah?
May I say something?

MS. LANNIN:
DR. BROWN:

Yes, Lawrence.
In the interest of

transparency, I just want to let everyone know, as a
Brooklyn boy, I was immediately amazed when I visited
the Indianapolis 500, so I crossed that one off my
bucket list, particularly -MS. LANNIN:

Congratulations.

Good for

you.
MR. WEINMAN:
MS. LANNIN:
Greg.

Okay.
Ooh.

Mary, we're ready.
Two minutes early,

Good.
Is everybody ready to hear the scores?
Why don't you start to read them, Greg.
MR. WEINMAN:

33 points.

Okay.

Once again, out of

Number 1 has 17 points, number 2 has 12

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points, number 3 is the high vote-getter with 23
points, number 4 has 9, number 5 has 2, number 6 has
18, number 7 has 3, number 8 has 3, number 9 has 2, 9A
has 2, 10 has 3, and 11 has 5.

Once again, the high

vote-getter, clearly, in this case, is number 3 with
23 points.
MS. LANNIN:

Well, that's great.

Thank

you very much, Greg.
All right.

Does anybody have any

motions on this?
Okay.

So if the discussion is

concluded, we're going to go to the last portfolio for
consideration.

I think that we've done a really great

job for Indiana in picking number 3.

I think it's a

marvelous design.
All right.

April, I'm tossing it back

to you with the reverse candidate designs for the
Mississippi 2023 American Innovation $1 coin.
MS. STAFFORD:
much.

Wonderful.

Thank you so

We have two design concepts for the state of

Mississippi.

One, the Delta blues music, and two, the

first human lung transplant.

The governor has

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indicated a preference for design 13.

And on the

phone with us should be Ms. Laura Hipp, who is Chief
Marketing Officer for the Mississippi Development
Authority and our appointed liaison to this program.
Ms. Hipp, if you are with us, would you
like to say a few words?
MS. HIPP:

Yes.

for considering these designs.

Hello.

Just, thanks

And you know, I think

Governor Reeves has a preference for highlighting some
unknown facts about Mississippi.

I don't think people

often think of our contributions to science and
technology in medical innovation, and I think that
goes to the root of why he preferred number 13 as a
coin choice.
MS. STAFFORD:
appreciate you joining us.

Thank you so much.

We

And as we go through the

candidate designs, members may have questions that
they'd like to pose to you.
So we'll move first through the
candidate designs developed for the Delta blues music.
Some background on this concept.

The Delta blues

originated in the Mississippi Delta, a region of the

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U.S. stretching from the upper northwest corner of
Mississippi to Vicksburg, Mississippi, in the south
and from the Mississippi River in the west to the
Yazoo River in the east.

Guitar and harmonica are its

dominant instruments; slide guitar is a hallmark of
the style.

Vocal styles in Delta blues range from

introspective and soulful to passionate and fiery.
There are few characteristics common to all blues
music because the genre took its shape from the
idiosyncrasies of individual performers.
Blues has evolved from the
unaccompanied vocal music and oral traditions of
slaves from West Africa and rural blacks into a wide
variety of styles and subgenres, with regional
variations across the United States.

The origins of

the blues are closely related to the religious music
of the African-American community, the spirituals,
which go back to the middle of the 18th century.
Before the blues gained its formal definition in terms
of chord progressions, it was defined as the secular
counterpart of spirituals.

It was the music played by

rural African-Americans.

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The blues recordings that came out of
the Mississippi Delta from the late 1920s through the
late 1930s have had an enormous impact on American
music, influencing artists in numerous genres.

It is

powerful music that is also, by turns, stark, poetic,
eerie, humorous, topical, and beautiful.
All designs for this concept include
the additional inscription "Delta blues."
So first, we have design 1, which
depicts an African-American man from Mississippi
playing a steel guitar by using a slide shown on the
man's left hand.

The distinctive sound of a slide

guitar is one of the true hallmarks of Mississippi
Delta blues.
Design 2 depicts a man playing the
harmonica with a slide guitar in the background, two
important components of Delta blues.
Design 3 features an abstract view of
an older man playing a resonator guitar.

This guitar

was adapted by blues musicians in the 1920s and is
still used today, just as the culture and tradition
pass to each new generation.

The wave pattern in the

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lower right evokes the waters of the Mississippi
River.
Design 4 depicts a guitar head flanked
by flourishes.

The flourishes represent the beauty

and growth that came out of Mississippi in the form of
the Delta blues.

The 20 stars represent Mississippi's

designation as the 20th state.
Designs 5, 6, 7, and 8 all feature
iconic symbols of blues music, an acoustic guitar
paired with a traditional fedora hat.

Design 5, seen

here, includes a harmonica below the guitar neck.

So

that's design 5, 6, 7, and 8.
Moving on to the second concept for
Mississippi, the first human lung transplant.

On the

evening of June 11, 1963, Dr. James Hardy and his
collaborators, Watts Webb, Martin Dalton, Jr., and
George Walker, Jr., at the University of Mississippi
Medical Center performed the world's first human lung
transplant.

Chair and professor of surgery at the

Mississippi Medical Center, Dr. Hardy spent several
painstaking years researching and working through the
details of organ transplantation to prepare for the

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first human-to-human lung procedure.
The patient lived for almost three
weeks after the transplant before succumbing to kidney
disease, not the newly transplanted lung.

The

achievement, however, was undeniable.
It was significant because it
demonstrated that a transplanted lung could function
normally and that the type of immunotherapy available
at the time could prevent the body from rejecting the
lung, at least for a short period.

It encouraged the

start of lung transplantation and began a new era of
therapy to battle human lung disease.
Each design for this concept includes
the additional inscription "first human lung
transplant."
So here we have design 9.

It depicts a

straight-on view of a pair of human lungs.

The

trachea connects to both the simplified bronchi shown
on the left (in the patient's right lung) and to the
transplanted lung on the right side (the patient's
left).

The lungs are surrounded by a background

texture reminiscent of cells.

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Design 10 features a straight-on view
of a fully transplanted pair of human lungs, with
simplified bronchi connected to a trachea.

Two

slightly different biologically-inspired textures,
reminiscent of cells, surround the lungs and trachea
and form a boundary line that separates them.

The

juxtaposition of the similar features and textures
symbolizes the now whole functioning lungs formed from
two different but compatible bodies.
Design 11 depicts the Rod of
Asclepius -- excuse me if I did not pronounce that
correctly -- superimposed above a stylized rendering a
pair of human lungs.
Design 12 illustrates a surgeon's
gloved hands carefully holding the patient's new left
lung in preparation to attach it to the trachea.
Design 13 features a pair of human
lungs in the background, while a surgical assistant
passes forceps to the surgeon during the first lung
transplant surgery.

Again, this is the design that is

preferred by the Governor.
And design 14 depicts a surgical

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assistant passing forceps to the surgeon, again,
during the first lung transplant surgery.
Madam Chair, that concludes the
candidate designs for Mississippi.
MS. LANNIN:

Well, thank you so very

much.
Again, if we could keep our discussions
to five minutes or less, that would be great.
And I'd like to begin with Dennis
Tucker.
MR. TUCKER:

Thank you, Madam Chair.

Well, it's hard for me not to look at
this portfolio without considering the themes that
we're recommending for the other three states for this
year.

And as much as I would love to consider each

coin as a standalone, as its own independent coin, I
think we have to acknowledge that most of these coins
are going to be sold in sets.
I know that the Mintages are not final
and audited, but I've been looking at the Mintage
numbers for 2018 and 2019 coins in this series, and
they appear to be selling about 400, 500,000 coins,

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And then, only in the tens of thousands

each in sets.

of individual coins, which are sold by the Mint in
rolls and bags.
So most people who buy these coins and
observe them are going to be buying them and observing
them as part of a set.

And for that reason, as

significant as the first human lung transplant is, I
feel like the Mississippi Delta blues is the stronger
theme to go along with the other fairly AfricanAmerican-themed coins within the portfolios that we've
seen today.

So it would be the underground railroad,

jazz, and the blues, and then automotive innovation.
So I'm tending toward Delta blues Music
as the theme, and within that theme, I like number 1,
and I like number 3 because they both have a strong
human element focusing on the musician.

Of the two, I

think that number 3 is perhaps my favorite because
it's a bit more stylized.

I like the use of white

space and the typography.

So 1 and 3 are going to get

my strongest votes.
Thank you, Madam Chair.
MS. LANNIN:

Thanks, Dennis.

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Sam Gill.
MR. GILL:

Thank you, Madam Chair.

Well, my thought on this is that the
Delta blues is a better theme.

I'm very, very

respectful of the lung transplant, and I know why the
state would be so proud of that effort.

But I think

that the Delta blues is just a really cool thing for
Mississippi, and it's certainly how I think of
Mississippi in terms of the music there.
And I love number 3.
design.

It's just really well done.

I love the
It captures this

older gentleman, and he's exactly the person that I
would expect to see playing that music.

So I'm going

to have to put my vote there on number 3, and I like 1
as well.

And if my colleagues decide to go with the

lung transplant, then I'm happy to support the
Governor's selection of number 13.
Thank you, Madam Chair.
MS. LANNIN:

Thank you so much, Sam.

Robin.
MS. SALMON:

This is Robin Salmon.

I,

too, go with the Delta blues for a variety of reasons,

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all of which have been stated so far.
other designs, though.

I did like

Number 2, I thought, was

interesting in superimposing the human figure and the
guitar.

It does include the elements of the symbols

of Delta blues with the harmonica, the guitar, the
hat, and of course, the musician.
But I also liked number 4 for its
design.

I thought this was a beautiful design, and

really, it's probably the most artistic of all of the
designs in this particular category.
And I like number 5.

It's got the

elements, again, guitar, harmonica, hat, but the
lettering is very compelling in "Mississippi Delta
blues."

The strong diagonal, horizontal line there in

both the harmonica and the guitar draws my eye.

And I

like it.
With the lung transplant, it is
certainly an important theme, and if I had to choose a
particular design there, I would go with number 11.
It shows the lungs in a little bit more of a realistic
way, but it also includes the symbol of doctors, and I
liked the overall design of this one.

Thank you.

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Thank you so much, Robin.

MS. LANNIN:

Dr. Dean Kotlowski, please.
DR. KOTLOWSKI:

Thank you, Madam

Chairperson.
This is Dean Kotlowski speaking, and I
find myself agreeing very much with almost everything
that Robin said about the Delta blues.

I really like

number 2 the best for the reasons that Robin
explained.

I think it's very well integrated.

very artistic.
man.

You get the fedora hat.

You get the harmonica.

It's

You get the

I love the way the

guitar is just so present, and I like the lettering on
this.

So of the images that feature a person, this is

my favorite, but 1 and 3 are very good as well.
And then, with the Delta blues, like
Robin, I liked number 5.

I liked how horizontal this

was, and the balance, and bringing in the hat and the
harmonica.

I just think that this worked very, very

well in integrating all of those elements in a very
formal way.
Now, I'm not taking a side about Delta
blues versus lung transplant.

I'm just going to look

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at the art.

And I have to say, a lot of the images

with the lung transplant I thought were very well done
in terms of balance.

I think with number 1, you know,

putting what was going on here with one of the lungs,
I think was terribly effective.
You could go through all of these.

But

you know, with our chairperson's test, the coin that
would have attracted my interest and that I would
spend my last minute or so discussing is number 12.
Number 12 is extremely graphic.
almost gross.

And to use a phrase from the 1980s,

"this one grossed me out."
was compelling.

And I would say it's

But I looked at it.

It

In some ways, it was like seeing a

movie that is extraordinarily well done, but on a
disturbing theme, and so you can't say you enjoyed it,
or you liked it, but you appreciated its greatness.
I think what the Governor did, and this
is very understandable, is number 13 is in many ways a
safer version of number 12, and it's got the hands
there as well.

So I'm not necessarily going to vote

for number 12, but I wanted to comment on it for the
artistry.

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

Okay.

Thank you so much,

Dean.
Mike Moran, please.
MR. MORAN:

Thank you, Mary.

Mike Moran here.

I liked number 3.

thought it was a powerful image.

I

Again, I liked the

way it divided the coin up into uneven quadrants.

I

also liked the fact that it brought the Mississippi
River in in a stylized way because the Mississippi
River was the transportation that diffused this music
across the United States.
If I had been an artist assigned to do
the lung transplant, I don't know what I would come up
with because Dean did say it there.
gross.

He said that's --

I thought there is no way any of these are

going to come out worth attracting my attention.
number 11 did a good job of it.

But

It's realistic, and

yet it's artistic, and it will get some of my votes.
But I'm a Delta blues person on this one.
MS. LANNIN:

Okay.

That's it.

Thanks, Mike,

Dr. Brown.

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DR. BROWN:
Lawrence Brown here.
I'm not a surgeon.

Good afternoon, again.

And I want to acknowledge that

I am a physician.

And for that

reason, I often have conversations with my surgical
colleagues.
aspects.

We often tease each other about various

I can understand Dean's comment about that

looking gross.
By the way, I'm going to vote for item
3.

However, I want to make a point that when we were

talking before about innovations, if I have to look at
innovations in medicine, I probably would not say that
using technology or surgery would be my vote.

But

just in case we get a design coming down the road, I
just want to share that because when we look at
advances in medicine to have had a substantial impact
on society, they tend to be behavioral health-type
things as opposed to the magic pill or the surgical
procedure.
I do respect the state of Mississippi
wanting to give, in fact, kudos to, in fact, the first
human lung transplant.

And I do, in fact, salute --

if I had to choose among those -- I probably would

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choose either design 13 or 14 because I can understand
most persons outside of surgery, outside of medicine,
would have been grossed out by the number 12.
So item number 3 would be the one that
I would choose.

Thank you.
MS. LANNIN:

Thank you, Dr. Brown.

Donald Scarinci, I'm sure you have an
opinion on this.
Donald?
MR. SCARINICI:
everything.

I have an opinion about

But I think -- listen.

I think the art,

I mean, kudos to the artist for this whole packet,
actually.
So I just think number 2 is amazing.

I

mean, you know, it's just so cool the way -- you
know -- the way the hat and the -- you know -- I love
the way the, you know, the brim of the hat, you know,
kind of, you know does the circle within a circle
thing in the guitar.

You know, and kind of the way

the face is, you know, hunched down, and you know,
it's just a really cool image.

So you know, I find

that compelling.

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And you know, what the artist did in 5
and 6 is also kind of neat with the, you know, putting
the hat on the guitar.

You know, I kind of like that

even more than -- you know -- than 7 and 8.
But you know, as far as, you know, lung
coins go, you know, probably number 9 is, you know,
the most clear as to what it is.

You know, with 13

doing much too much with the -- you know -- with the
scissors there.

And too much going on in 13 and 14.

So I think if we go with, you know,
another music coin, you know, my feeling is 2.

I can

certainly understand the people that, you know, like
some of the other designs.

You know, if we go with a

lung coin, we go with number 9, in my opinion.
I'm probably going to give three to
both.

This way, we have a lung coin and a music coin,

and you know, and listen, assuming Mississippi is
being truthful, you know, that that is the home of the
first human lung transplant, I guess, that's kind of a
big deal.
You know, I, you know, have not done my
homework on this, so I really -- you know -- I think

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what we've learned throughout all of these various
series that we consider, the states kind of take
credit for things that, you know, maybe they had
something to do with.
know.
theirs.

So I'm not really sure, you

I just don't know.

Right.

They say it's

You know, hopefully, it is.

I'm going to

give it a three, and I'm going to give number 2 a
three.
MS. LANNIN:

All right, Donald.

Dr. Peter van Alfen.
DR. VAN ALFEN:

Thank you, Madam Chair.

In terms of the Delta blues, I also was
rather attracted to number 3, but I have to say that
number 4 is by far my favorite in that series.

Kind

of very attractive and very artistic, as Robin noted.
In terms of the lung transplant, I have
to say that Dean's comments made me chuckle in terms
of number 12 because I, too, was not quite sure what
to do with that.

My favorite of the lung transplant

designs, however, is number 11.
most attractive of the group.

I found that probably

And so I'll just leave

it at that in the interest of time.

Thank you.

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MS. LANNIN: Thank you.
In the interest of time, we need to
sort of catch up here a little bit.
Arthur Bernstein, please.
MR. BERNSTEIN:

This is Art Bernstein.

As a guy who looked away when he got his COVID
vaccination, I, too, like Dr. Kotlowski, found number
12 to be too graphic.

If we're going with a lung

coin, number 9 got the point across.

If we do decide

to go with a lung coin, I'd like to reserve the right
to raise a question of syntax with regard to the
phrase "first human lung transplant," but I'll save
that to see what is the final decision.
If we're going with the Delta blues
coin, I was attracted to design 03 because of the
tie-in with the Mississippi River.
MS. LANNIN:

Thank you.

Okay.

Tom Uram, please.
MR. URAM:

Thank you, Madam Chair.

Tom Uram.

I'm going to agree.

If we

go with the blues, I do like number 2 the best, and
then number 3 as well.

So I'm going to give points to

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both.
To balance out the portfolio of four
coins, I would like to see the medical coin.

I don't

know that it would happen, but I, too, like number 11
and 13.

But I'm going to give more of my points to

number 11 since it does have the medical symbol, as
well as the lung.

So I'm going to give points to

both.
And congratulations to the artist here.
And thank you, Madam Chair.
MS. LANNIN:

All righty, Tom.

Thank

you.
And I just want to remind people that
the Governor's choice for the lung one was number 12.
I'm sorry.

I have it as number 13.
Jennifer, could you check me on that?
MR. URAM:

Number -- I have.

MS. LANNIN:

We're all starting to

break up a little bit.
Tom, you broke up.
MS. STAFFORD:
April.

Madam Chair, this is

I just wanted to confirm, the Mississippi

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Governor's preference is for design 13.

That is

actually the design that I noted in our public
meeting.

I believe in our administrative meeting, I

may have erroneously said number 12.

So I just wanted

to make sure members, if they wrote down from the
admin meeting, that they had the corrected and
accurate preference of the Governor's office.
MS. LANNIN:
Okay.

Great.

Thank you.

So I will weigh in a little bit

with my favorite way to determine coins.

If I picked

up something, I would pick up number 3 for the Delta
blues.

I love the way that the design is sort of

curved into pieces.

I love the almost wood-like grain

of the Mississippi River.
in profile.

I love the fact that he's

You're just assuming that maybe he's

sitting with his legs crossed, and the guitar is in
his legs, and he's trying to decide maybe what to play
next.

I love this design.

I just think it's awesome.

That's not to discount any of the other
artist work, but wow.

This just really got me, and

I've never gotten off of it.

I like number 1 because

I like the intersection of "Delta" and "blues" in the

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street sign.

I thought that that was really very

clever.
And in terms of the lung, if we went
that way, I prefer number 9 because I think it's a
little cleaner and a little more simple.

But I'm

giving all of my first-place votes to number 3.
Dennis brought up a really good point
when we started talking about this, that most of these
are sold as sets.

And so you know, picture this.

You

open it up, and it's in a little plastic thing from
the Mint, and you're looking at kind of music that you
like -- jazz that you like.

I'm not so sure I want to

look at a human lung under any circumstances.

But

that's just me, and I am the daughter of a surgeon.
But at any rate, does anybody have any
additional comments?

You know, from the Mint or?

different comments from our committee?
DR. BROWN:

Madam Chair, this is Dr.

Brown.
MS. LANNIN:
DR. BROWN:

Yes, Lawrence?
I'm looking for the next

opportunity when we'll have something of a medical

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I can't wait until it comes before

type of theme.
this committee.

MS. LANNIN:

All right.

Thank you so

much.
I think that we should probably score
these.

It's 3:57.

We're scheduled to end 4:30, but

we've got a bit more work to do.

So if we could take

about less than 10 minutes or so to get the scores to
Greg, that would be great.
MR. WEINMAN:

Thank you.
Send them my way.

I've

already got Lawrence's and Mike Moran's.
Okay, Mary.

I'm ready.

MS. LANNIN:

All right, Greg.

MR. WEINMAN:
MS. LANNIN:
MR. WEINMAN:

Ready?
Take it away.
Okay.

Design number 1

has 6 points, design number 2 has 18, design number 3
is the top vote-getter with 22 points, design number 4
has 7, design number 5 has 7, design number 6 has 2,
design number 7 has 4, design number 8 has 2, design
number 9 got 10, design number 10 got 5, design number
11 got 11, design number 12 got 5, design number 13

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got 16 points, design number 14 got 7 points.
MS. LANNIN:

Thank you, Greg.

MR. WEINMAN:

So once again, the top

vote-getter is number 3 with 22 points.
MS. LANNIN:

Great.

Thank you so much.

So is there any further discussion on
this?
MR. TUCKER:

Madam Chair, this is

MS. LANNIN:

Okay.

MR. TUCKER:

I have a motion I'd like

Dennis.

to make, not relating specifically to Mississippi.
this a good time to make it?
portfolios.

Is

It's about the four

I would like to move that we encourage

Secretary Yellen to consider our recommendations as a
set or as a whole.
I think it's important that we
emphasize that if she simply reviews our
recommendations individually, then we might end up
with a proof set and a Mint set that has the
underground railroad, the Higgins Boat, lung
transplant, and automotive innovation, rather than the

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more coherent set that we've developed, which is
underground railroad, jazz, blues, and automotive
innovation.
MS. LANNIN:

Greg.

MR. WEINMAN:
motion.

Is that --

It's a certainly a proper

Yeah.
MS. LANNIN:

All right.

Does anybody

second?
DR. BROWN:

Dr. Brown seconds.

MS. LANNIN:
DR. BROWN:

Who said that?
Lawrence Brown seconds.

MS. LANNIN:
MR. WEINMAN:
MS. LANNIN:

Okay.
Any discussion?
Okay.

Is there any

discussion on that?
MR. TUCKER:

Mary, it's Dennis again.

If I could just explain a little bit more my reasoning
for this.

I understand that some of the governors had

very strong recommendations for their own preferences.
And I don't know if those recommendations taken out of
context, out of the context that we've given the set
as a whole, might have too much bearing and disrupt

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what I see as being a very coherent combination that
we've developed here.
So that's why I think it's important
that the Secretary consider what we're recommending as
a coherent set or whole, a set of coins, rather than
just looking at each one individually.
MS. LANNIN:
vote.

Okay.

Let's take a voice

All in favor of Dennis' motion, say, "Aye."
(A chorus of ayes.)
MS. LANNIN:

Two.

UNIDENTIFIED SPEAKER:
MS. LANNIN:

Aye.

Three.

(A chorus of ayes.)
MS. LANNIN:
who sort of keep appearing.

I could be -- count people
I counted five "ayes" so

far of eleven.
So then, five "ayes?"
MS. WARREN:

Mary, this is Jennifer.

You might want to just take a quick roll call, and -MS. LANNIN:

Okay.

Let's do a roll

call.
Dean.

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DR. KOTLOWSKI:
MS. LANNIN:

No.

Mike Moran.

MR. MORAN:

Yes.

MS. LANNIN:

Peter van Alfen.

DR. VAN ALFEN:
MS. LANNIN:

Yes.

Tom Uram.

Tom?
Robin Salmon.
MS. SALMON:

Yes.

MS. LANNIN:

Sam Gill.

MR. GILL:

I'd have to say no.

MS. LANNIN:

Dennis Tucker.

MR. TUCKER:

Yes.

MS. LANNIN:

Lawrence Brown.

DR. BROWN:

Yes.

MS. LANNIN:

Donald Scarinci.

MR. SCARINCI:

The only reason I'm

saying no, is because I really don't want to tell the
Secretary of the Treasury what to do.
MS. LANNIN:

Arthur Bernstein.

MR. BERNSTEIN:
MS. LANNIN:

Yes.

Tom Uram.

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Is he back?
MR. URAM:

I'm back.

I don't know what

happened.
Dennis made a motion --

MS. LANNIN:
MR. URAM:

I did not hear the results

or anything.
MS. LANNIN:

Oh.

Dennis made a motion

that the recommended designs be presented to Secretary
Yellen as a complete package so that the governors'
choices, if they were other than ours, don't wind up
in the same set that is sold.
by Lawrence Brown.

And that was seconded

We have six yeses.

one, two, three, four noes.

And we have

And so we're leaning on

you.
MR. URAM:
since I missed them all?
happened.

Can you give me the results
Sorry.

I don't know what

I just looked -MS. LANNIN:

Sorry.

Number 3 got 22

points, and that is the favorite design.
MR. URAM:

Right.

And so what's the

motion?
MS. LANNIN:

The motion --

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MR. WEINMAN:

The motion is actually

not related specifically to Mississippi.
MS. LANNIN:
MR. WEINMAN:

Yeah.
Dennis, do you want to

just quickly just rephrase your motion?
MR. TUCKER:

Yes.

Tom, I made a motion that we encourage
the Secretary to consider our recommendations as a set
or a whole, rather than emphasizing the individuality
of each recommendation if that makes sense.
And my reasoning was that some of the
governors' recommendations were voiced very strongly,
but if we go with the governors' recommendations,
we'll end up with a very mismatched set of coins.

It

would be the underground railroad, the Higgins Boat,
the lung transplant, and automotive innovation.

If we

go with our recommendations, it will be a much more
coherent set of four coins, which would be the
underground railroad, jazz, blues, and the automotive
innovation.

More African-American themed almost,

relating to the history of -MR. URAM:

Well, I guess I'm a little

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confused.

Our recommendation is what we recommend.

So therefore, I don't think the Secretary needs any
more definitive than what we're -- are we trying to be
redundant?

I don't understand the motion, really.
MR. TUCKER:

redundant.

No.

Not trying to be

But presenting our recommendations in a

way that we typically don't.

I understand that we

don't normally make our recommendations this way, but
acknowledging the fact that these coins are purchased
by most people in proof sets or mint sets rather than
individually, I think we have to look at the four-coin
set as just that.

A set of coins that people will be

looking at, you know, as a whole, rather than as
individual coins.
MS. LANNIN:
MR. URAM:

Okay.

I --

I think I'm looking at it

more or less as an individual state, and we've made
the decision.

So I'm going to have to vote no on

that.
MS. LANNIN:

I'm also voting no because

I agree with Tom and Donald Scarinci that it's not my
business to tell Dr. Yellen what to do with --

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UNIDENTIFIED SPEAKER:

There you have

it.
MS. LANNIN:

-- we've already voted,

and we know what our choices were.
vote no.

So I'm going to

So one, two, three, four -MS. WARREN:

Madam Chair, it's six

yeses, five noes from my count.
MS. LANNIN:

This is Jennifer.

That's the count that I

get as well.
UNIDENTIFIED SPEAKER:
You're chair.

Hey, Mary.

You go for it.
MS. LANNIN:

I already --

MR. TUCKER:

Mary, this is Dennis.

role is advisory.

Our

I mean, everything we do is

advising the Secretary.

I don't see this as telling

her what to do.
MS. LANNIN:
micromanaging.

Well, I think it's

And I think that if I was the governor

of one state, and I got what I wanted, and a governor
of another state didn't get what they chose, I think
it just creates bad feelings among the states that are
part of that set.

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Well, that could happen

MR. TUCKER:
either way, you know.
MR. URAM:
me.

Plus, ultimately -- excuse

Ultimately, though, it is up to the Secretary to

make the final decision, and I think she's very well
aware of the Mints stand in how we want to market and
do what has to be done.

So she has the best interest

of the Mint, hopefully, as the other Secretaries have
had as well.
MR. SCARINCI:

And Dennis, there's

nothing special about these four states.

They just

happen to be, you know, the four states together.
There's no cohesive unity.

So when we do want coins

grouped together for some, you know, for some good
reason, you know, I don't want to have, you know, done
this before.

You know, there's just nothing in common

that these states have other than they're going to be
issued in the same year.

Right.

MR. TUCKER:
And I agree with that.

So --

Donald, this is Dennis.

I don't think that this needs

to be something that sets precedent, and I don't think
it's something that will actually happen very often.

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I do see this as an interesting development with this
particular set of four coins for this particular set
of four states.
MS. LANNIN:
MR. URAM:

Nonetheless -When we review these, we've

said even today, I even mentioned it, you know, how
the set is going to look and thought that the medical
would be a good balance, but I mean, it doesn't mean
that it has to be that way.

So I mean, I think we're

all pretty much attuned to the fact of how the set
would develop as we go through the process for each
one of the states as we've done so far.

So far, it's

worked out pretty well.
DR. KOTLOWSKI:
Kotlowski.

Mary, this is Dean

I mean, Madam Chairperson.

I feel like

we're having the debate after we had the vote, which
is -MS. LANNIN:

Exactly.

DR. KOTLOWSKI:

-- more than a little

awkward because I find myself completely agreeing with
Tom and Don and you.

I worry everything you do sort

of sets a precedent potentially.

And we haven't

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really done this before.

I think our choices are

clear, and they -- you know -- they stand for
themselves.

And I don't know if you can make a case

here that they're coherent.

I mean, three of them

seem to deal, obviously, with African-American themes,
but the automotive industry really doesn't.
And then, I wonder if you get something
later on where a Secretary would say, "Well, maybe
what we have to have is, looking at the four sets, we
got to have things balanced.
medical coin.

And maybe we need a

Or it can't be in a -- you know -- it's

too tilted in this direction one way or the other."
MS. LANNIN:
MR. WEINMAN:
carried.

Exactly.
Yeah.

The motion

Somebody could move to reconsider, but

otherwise, you should move on.
DR. VAN ALFEN:

I move to reconsider.

That was Peter van Alfen.
MS. LANNIN:

Peter, what did you say?

You're changing your vote from yes to no?
DR. VAN ALFEN:

Well, I say I move to

reconsider, to re-vote.

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DR. KOTLOWSKI:
MS. LANNIN:

I second.

All right.

Okay.

So on

this motion -MR. URAM:

Sorry, Mary, that I came in

late and did all that.
MS. LANNIN:

Yeah.

Okay.

So this is

the reconsideration that Peter wants to do and Dean
seconds.
Dean, what is your vote?
DR. KOTLOWSKI:

On reconsideration,

yes.
MS. LANNIN:

No.

DR. KOTLOWSKI:

No.

Oh.

No.
On this, on

Dennis' -- motion.
MS. LANNIN:

Correct.

I think you need

to make a motion clearly, so that when I do the
minutes, it will be, "We moved to combine them as a
set."

Or, "We moved to leave them with our original

recommendations."
DR. KOTLOWSKI:

Right.

I will defer to

Peter, but my inclination is to leave them as four
different --

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MR. TUCKER:

-- I think you're putting

words in my mouth now.

please.

MS. LANNIN:

Say again, Dean.

MR. TUCKER:

This is Mr. Tucker.

MS. LANNIN:

Dennis, wait a minute,

Dean was trying to say something, and as a

result, I couldn't hear either of you.
Dean, finish your sentence, please.
DR. KOTLOWSKI:

Okay.

I don't know

whether we're voting on just to reconsider and re-vote
on the motion that requires a separate vote or not.
My intention is to vote against Dennis' motion and
just to let every coin stand in terms of the four
individual coins.

So I could make a separate motion

on that, or Peter can since he was sort of first out
of the gun here.
to stand.

It's just to simply allow our votes

That would be my clear motion.
MS. LANNIN:

Peter?

DR. VAN ALFEN:
Dean, I'm confused.

Sorry.

I was muted.

Your motion is to let the vote

stand as it was or to re-vote?
DR. KOTLOWSKI:

To not group them

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together and to allow the individual votes on each of
these coin designs stand as we have voted them.
DR. VAN ALFEN:

So that is your motion?

DR. KOTLOWSKI:

Yes.

DR. VAN ALFEN:

I second that motion.

MS. LANNIN:

So in this case, then,

Dennis, you would vote yes for your own motion?
MR. WEINMAN:
MS. LANNIN:
MR. WEINMAN:
clarify.

Yeah.

Mary.

Yeah?
Just saying this just to

Dennis had a motion on the table to group

them together.
MS. LANNIN:
MR. WEINMAN:
MS. LANNIN:
MR. WEINMAN:

Right.
That passed.
Right.
Now, Dean has made a new

motion to not group them together.

And so now, the

motion on the table at the moment, seconded by Peter,
is to not group them together but go the way that you
had it originally.

That's what you're voting on right

now.
MS. LANNIN:

All right.

Thank you very

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much for saying that and for straightening it out.
Dean Kotlowski, what is the vote on
your motion?
MR. WEINMAN:

You're muted.

DR. KOTLOWSKI:
MS. LANNIN:

Yes.

You're voting for your own

motion, yes.
Michael Moran.
MR. MORAN:

Yes.

MS. LANNIN:

Peter van Alfen.

DR. VAN ALFEN:
MS. LANNIN:

Yes.

Tom Uram.

Tom Uram.
Somebody has to -MR. URAM:

Sorry.

MS. LANNIN:

Yes.

Yes, Mary.

Okay.

Dr. Brown, put your mute on, please.
Robin Salmon.
MS. SALMON:

Yes.

MS. LANNIN:

Sam Gill.

MR. GILL:
MS. LANNIN:

Yes.
Dennis Tucker.

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I'm going to abstain

MR. TUCKER:

because I think my first motion was mischaracterized
in the explanation of this motion.
MS. LANNIN:
DR. BROWN:

Dr. Brown.
I vote no.

MS. LANNIN:
MR. SCARINCI:
here?

Donald Scarinci.
What are we voting on

I don't even know.
MS. LANNIN:

We are voting on a motion

made by Dean, seconded by Dr. van Alfen to not group
the coins for Secretary Yellen.
MR. SCARINCI:
what we voted for last time.
MR. WEINMAN:

So we're voting to do
Okay.
No.

Donald --

UNIDENTIFIED SPEAKER:

No.

The

opposite.
MR. WEINMAN:
motion.

To clarify, Dennis made a

His motion carried to group them.

Then,

after that motion passed, Dean filed a contrary motion
to do exactly the opposite.

That got a second, and

that is what's passing right now.
MR. SCARINCI:

Oh.

I'm sorry.

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thought Dennis' motion failed.

Yeah.

I support

Dean's motion.
MS. LANNIN:

Okay.

MR. BERNSTEIN:
MS. LANNIN:
Okay.

Art Bernstein.

Yes.

Mary Lannin.

Yes.

Then we have one no, one

abstention, and nine yeses.
MR. WEINMAN:
MS. LANNIN:
MR. WEINMAN:

Dean's motion passes.
Okay.
Dean's motion has

overcome Dennis' motion.
MS. LANNIN:

Right.

Okay.

So we've

got quite a bit of work to do in less nine minutes.
Okay.

So the next thing that is coming up -- thank

you all for going through that.

We're going to

discuss potential recommendations on future
commemorative coin program themes.
Per the CCAC Operating Procedures and
Section 5135 of Title 31, United States code, the CCAC
is responsible for advising the Secretary of the
Treasury, quote "with regard to the events, persons,
or places that the Advisory Committee recommends be

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commemorated by the issuance of commemorative coins
each of the five calendar years succeeding the year in
which a commemorative coin designated is made."

A

small working group of CCAC members that include Tom
Uram, Robin Salmon, Dr. Lawrence Brown, Donald
Scarinci, and myself have been continually meeting to
discuss ideas to present to the group.
As we did in the January public
meeting, the working group has a few recommendations
to move forward for consideration by the full
committee on possible recommendations to the secretary
and to share with Congress.

Information was sent to

each of the members on the ideas to be considered
prior to today.

We will take up each idea separately

and allow for members to share their thoughts on a
specific idea if they have any.

Then, we will vote on

whether to formally recommend the idea.
I ask that you keep your comments to
the idea being presented and stay within five minutes
if you wish to comment on any of the ideas.

To

present each of the ideas, I'm asking Tom Uram, who
has been kind enough to lead the working group, to

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present each of them.
Tom.
Tom?
MR. URAM:

-- my thoughts.

This is

a -MS. LANNIN:

Oh, dear.

Tom, are you on?

Now, you've got that

kind of -- there you go.
You still look frozen, though.
Okay.

Tom, you're muted.

MR. URAM:

Okay.

MS. LANNIN:
MR. URAM:

How about now?

Fine.

Okay.

Good.

Thank you,

Madam Chair.
Tom Uram here to give the working group
report to the full Citizens Coinage Advisory
Committee.
members.

And I want to thank all of our committee

I just want to mention that over the last

several months, the CCAC working group has met to
discuss the potential themes for the commemorative
coin program.
Currently, there's only authorized

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programs through 2022, and a very limited number of
potential programs introduced to Congress for the
outlying years.

As part of the CCAC's role in US

coinage, the CCAC working group has focused discussion
on potential programs for the outlying years and to
add to the already recommended programs that we
recommended on the semicentennial program and the 2028
summer Olympics.
The working group, which consisted of
myself, Robin Salmon, Donald Scarinci, Mary Lannin,
and Dr. Lawrence Brown, met on May 10th and voted
unanimously to move forward with the following six
themes, and this is out of a larger, as well of what
you have.
After each theme, some of the
information provided that came up during the
discussion -- and mainly for background information -the CCAC does not have to specifically designated a
year.

Unless we should feel that it would be

appropriate, we don't have to.

Or a recipient

organization doesn't have to be declared.

However, it

is informative for the CCAC members to consider since

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a main purpose of the commemorative coin program is to
provide surcharges that reciprocate organizations for
their specific mission.
The first proposal -MS. LANNIN:

Oops.

Tom, you're off again.
MR. URAM:
MS. LANNIN:
MR. URAM:
MS. LANNIN:
MR. URAM:

Really?
Yeah.

Back on?
You're back on.

How's that?
Yep.
That's strange how it's

coming in and out.
Anyhow, Madam Chairman, first one has
to do with climate change and recognize wildlife
impacted seriously by climate change.

There are a

number of notes, and I'm not going to go over them
entirely, but each one, there are some several dates
and themes that could be used, and the potential
recipient organizations include environmental or
wildlife conservation groups.
So I throw this one out to -- you had a
chance to read everything as it relates to this

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proposal number one, and any comments -- and all we're
doing here right now is going to have the ability to
move these forward into the record.
MS. LANNIN:
MR. URAM:

Okay.

Thank you.

Are there any questions

regarding -MS. LANNIN:

Thanks, Tom.

Rather than go in a specific order, if
someone would like to speak to this first proposal, I
open the floor to that.
MR. URAM:
take the vote?

If not, would you like to

These have all been unanimously

approved by five, so -MS. LANNIN:
MR. URAM:
MS. LANNIN:

Passed.
Passed.
Okay.

Correct.
So if no one wants

to add any additional discussion, should we add the
environmental and climate change and animals that
would be considered impacted by that to our first
topic?

All in favor, voice vote, say, "Aye."
(A chorus of ayes.)
MS. LANNIN:

Any nays?

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I think that we can say that passed
unanimously.
Greg, is that what you heard?
Okay.

Tom --

MR. WEINMAN:
muted.

Yes.

Yeah.

Sorry.

I was

That is what I heard.
MS. LANNIN:

Okay.

So Tom, why don't

you do proposal number two, please.
MR. URAM:

Yes.

And thank you, Mary.

For the suggestion on proposal number two, Robin
Salmon made in regards to a commemorative coin program
related to stock car or car racing, NASCAR, or
automobiles in general.
As a committee as a whole, I think what
you'll find in these themes, as I mentioned a little
bit earlier, you'll find that we're really giving the
artist a whole new pallet as it relates to different
themes.

That was part of our goal over the last three

meetings that we've had in the working group.
And so here's another one that relates
to something a little bit different.

Its interest is

to appeal to a large segment of the population.

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course, we just talked about automobiles with Indiana
just recently, and you even have more women involved
in automobile racing and so forth.

So there are some

possibilities of relevant upcoming dates, as well as
potential recipient organizations.

The working group

unanimously approved this discussion.

So I'd like to

throw it on the floor for approval for proposal number
two to move forward.
DR. VAN ALFEN:
Alfen.

This is Peter van

I just have one question.

The title of this

proposal is "program related to stock car racing,
NASCAR, or automobiles in general," and that seems
really quite broad.
own thing.

I mean, NASCAR seems to be its

Automobile racing in general, if that

includes, you know, Indy 500 type racing, as well as
sprint racing, and you know, NASCAR, and so forth.

Or

automobiles in general, which is a hugely broad topic.
I wonder if we should consider a
narrower topic for this?

Just say, NASCAR alone, or

leave it as is rather broad?
MR. URAM:
MS. LANNIN:

That's a good point.
Peter --

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Sorry, Tom.

I just wanted to sneak in

and say, I think that the Mint doesn't want to look
like they're doing advertising for NASCAR, so if we
leave it really broad, you get the history of
automobiles.

You know, you could get like the first

racecars, et cetera, and so forth.
be easier as a topic in general.

I think it might
Do you know what I

mean?
DR. VAN ALFEN:
MS. LANNIN:

Yeah.

Sure.

But I understand your

concern.
DR. VAN ALFEN:
it.

No.

I fully support

I just think, as titled at the moment, it's

rather broad.

And if we leave it broad, you know, we

can obviously capture, you know, quite a bit there,
so.
MS. LANNIN:

Okay.

MS. WARREN:

Peter, this is Jennifer.

Just on that note with NASCAR, we originally were
thinking that because of its anniversary coming up,
but there could be trademark issues, even though they
do have -- foundation, that could be the one.

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kind of left it broader, and it could be sort of the
decision of Congress.

And if they actually worked

with them, and it said, "Okay.

NASCAR is fine with

that, and they want to be part of it."

That kind of

was where it was, so we made it more broad, so we
could move forward and then let that be hashed out
later.
DR. VAN ALFEN:

Sounds great.

Thank

you.
MS. LANNIN:

Okay.

So let's take a

MR. TUCKER:

This is Dennis.

voice vote -I had a

question for Greg -MR. URAM:

That's a good point.

Thank

you.
MR. WEINMAN:

Yeah.

Go ahead.

I think

I know what you're going to ask but go ahead.
MR. TUCKER:
about NASCAR.
company.

Well, I was just curious

I think it was started as a private

I don't know if it still is a private

company or what its status is, but would there be any
legal complications there?

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MR. WEINMAN:

Yeah.

Well, more

importantly, it goes to the charter of the CCAC.
Basically, it's an event, person, or place.

We have

advised in the past that a simple organization is not
sufficient within your charter.

It could

theoretically be the hundredth anniversary of NASCAR
if that was something that tied into the American
experience.

But it has to be either an event, a

person, or a place.

Something broader, as Mary was

saying.
MR. URAM:
MR. TUCKER:

And don't forget -Greg.

This is Dennis.

For that reason, I would vote against this one.

It

seems too vague.
MS. LANNIN:

All right.

So we're going

to -MR. URAM:

-- able to present this and

move it to legislators for them to decide the ultimate
themes or particular commemoratives.

So once again,

the whole purpose is just to have as much -- for
instance, stock car racing might be totally different.
That's why we left it as broad as we did.

We took the

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considerations, Dennis, that you brought up, as well
as that Peter brought up.

And that's why we went this

way because of just what you guys have been saying.
So even with that, we decided that we would move it
forward, and so it's now up to the general group as a
whole to decide if you wanted to go forward.
So Mary, you can take the vote.
MS. LANNIN:

Okay.

So all in favor of

the second proposal, which is a commemorative coin
program relating to racecars, possibly including
NASCAR racing and/or automobiles in general, say,
"Aye."
(A chorus of ayes.)
MS. LANNIN:

Opposed?

MR. TUCKER:

Nay.

MS. LANNIN:

Okay.

All right.
MR. URAM:

Nine to one.

Tom, your third one.
Okay.

The third one, it has

to do with the different historical American horse
racing.

And there are several to be recognized,

including the Kentucky Derby 150th anniversary, as
well as the Preakness, and tying it in with the

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Belmont as well in some consideration.

We felt from a

legislative point of view that this would move
forward, as it relates to three different states being
involved.

And we also felt that even though other

countries have done some different things as related
to horses, there are many potential recipient
organizations that could benefit, very numerous equine
non-profits, jockey foundations, et cetera.
So we felt very strong about this one
that it had extremely broad appeal, and once again, I
think the artist would have a really good time, and
we'd have a great portfolio to look at as it relates
to this one as well.
Mary.
MS. LANNIN:

Okay.

All in favor of the

horse and American horse racing commemorative program,
a voice vote, please.
Aye.
(A chorus of ayes.)
MS. LANNIN:

Opposed?

Unanimous?
Thank you.

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All right.
MR. URAM:

Tom, the next one, please.
Thank you, Mary.

Proposal number four relates to a
similar situation as it relates to animals.

And you

know, we tried to get animals on coins in different
things, and we had to switch gears there, so we
thought of picking it with the Westminster and
American Kennel Clubs, the AKC, in relation to the
broad appeal internationally as well, with crops in
the other different organizations.

There are some

similar countries that have done some things
dog-related as well, but we have not.
Numerous benefactors, again, including
research and nutrition for the rescues, in particular.
Clubs and societies for individual breeds are huge,
and it would have a broad appeal.

We also felt that

there would be plenty of legislative support as it
relates to that as a topic.
So thank you, Mary.
MS. LANNIN:

Okay.

Thanks.

I'd add maybe a recipient organization
could be Canine Companions for Independents, which is,

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I think, a very cool thing.
All right.

So voice vote.

Aye.
MR. BERNSTEIN:

Mary.

Mary.

This is

Art.
MS. LANNIN:

Art?

MR. BERNSTEIN:

Thank you.

It is Art Bernstein.

I

just wanted to point out; it's Westminster, not
"Westminister."
MS. LANNIN:

Right.

Thank you very

Very good.

Good catch.

much.
MR. URAM:
MS. LANNIN:

Okay.

So the fourth

proposal for the commemorative coin relating to dogs,
all in favor, say, "Aye."
(A chorus of ayes.)
MS. LANNIN:

Opposed?

Everybody likes dogs.
All right, Tom.
MR. URAM:

Unanimous.

Next one, please.

Proposal number five has to

do with architecture, and a theme of architecture is
that it relates to different environmental and

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considerations of city planning, landscape
architecture, and environment.

One of the things that

we brought up was Frank Lloyd Wright, among other
things.

And as you can see, down the list there,

there's numerous other architectural and environmental
inclusions, and it can also be kind of tied a little
bit to Mary's proposal of number one with the
environment.
So once again, this was something that
really has some new appeal for artists and designs and
that we haven't done or seen, and so we'd recommend
the passage of proposal number five.
MS. LANNIN:

All in favor of proposal

number five?
MR. BERNSTEIN:
MS. LANNIN:

Madam Chair.

Oh.

I'm sorry.

Art.

Okay.
MR. BERNSTEIN:
on this subject.

I'll be quick.

MS. LANNIN:

Sure.

MR. BERNSTEIN:
to record.

I have three comments

Just wanted to add them

One is, Daniel Burnham is mentioned, and

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reference is made to Chicago and Washington D.C.

He

had a great presence in Cleveland, Ohio and in San
Francisco, and I think that should be noted.
MS. LANNIN:

Okay.

MR. BERNSTEIN:

Number two, I wanted to

put in as a suggestion, another great American
architect, Julia Morgan -MS. LANNIN:

You bet.

MR. BERNSTEIN:

-- who has done several

hundred buildings, mainly on the west coast.

And my

third comment is Thomas Jefferson, the designer of the
University of Virginia, the Academical Village, which
is a UNESCO World Heritage site, and I think, worthy
of consideration.
MS. LANNIN:

Awesome, Art.

Thank you

so much.
MR. BERNSTEIN:
MS. LANNIN:

Thank you.

So all in favor of the

fifth proposal, which the coins are related to
American architecture et cetera, all in favor say,
"Aye."
(A chorus of ayes.)

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MS. LANNIN:

Oh, come on.

Sound

excited, you guys.
Anybody opposed?
MR. URAM:
MS. LANNIN:
great suggestions by art.

Arthur, thank you -Okay.
Okay.

It's unanimous with
So the last

proposal, Tom.
MR. URAM:

-- and thank you.

And you

could have a huge on just -- architecture alone -going forward.
MS. LANNIN:
MR. URAM:

Exactly.
It might be relevant --

Number -MS. LANNIN:

Breaking up, Tom.

Okay.
MR. URAM:

Okay.

Different poetry and

so forth, and put their list of possible poets that
have been there and listed, and I think that you could
find some really good libraries in different
institutions as -- and, I think also, it would play
well for state legislators to, once again, like, a
reading fundamental type, bringing it back, and play

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the essence of poetry and the importance of that
history.
MS. LANNIN:

Okay.

Thanks, Tom.

And I just wanted to say, this is my
idea, but I was just thinking of, considering the year
that we've all gone through, things that brighten and
lift our minds.

And so one of those things is poetry,

so that's why I wanted to include it.
So does anybody want to talk about
that, or should we just vote?
MR. GILL:
MS. LANNIN:
MR. GILL:

Madam Chair, this is Sam.
Okay, Sam.
Just a really quick comment.

The list of poets you had -- I love the concept, by
the way.
MS. LANNIN:
MR. GILL:

Thank you.
The list of poets you have

there are great, but you also might want to look at
some of the 19th-century poets as well, like Walt
Whitman, and Edgar Allen Poe, and Emily Dickinson, and
Longfellow, and some of the others, and -MS. LANNIN:

Exactly.

Exactly.

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wide-open topic.
MR. GILL:
MS. LANNIN:

Thank you.
So all in favor of our

last -Somebody else?
Art, did you have something to say?
MR. BERNSTEIN:
MS. LANNIN:

No.

Robin?

You lit up.

Do

you have anything to say?
MS. SALMON:

No.

I just unmuted

MS. LANNIN:

Okay.

myself.
All right.

All in favor of proposal number six,
which is to recognize American poetry?

Aye.

(A chorus of ayes.)
MS. LANNIN:
All right.

Any nays?
Unanimous.

So -MR. URAM:

Mary, I just want to say

thank you to the entire group.
And particularly, thank you to
Jennifer, who has helped compile and give us some

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thoughts and different things.

We're going to

continue to meet, and we'll advise everyone when our
next meeting is going to be.
I know that Dr. Peter van Alfen, you've
mentioned about some ideas, so we're open.
And once again, thank you to the Mint
staff and particularly Jennifer, and our group.
And there's other ideas and historical
events that are listed in the information that you've
received.

So thank you, all.
MS. LANNIN:

much.

Okay.

Thank you very

This concludes our business for today.

you all for attending.

Thank

Our next meeting is scheduled

to be June 15th and 16th, 2021, which will be held,
again, virtually.

So if there's no further business

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

So moved.

Peter van

Alfen.
MS. LANNIN:
MR. GILL:
MR. SALMON:

Okay.

Second?

Sam.
Robin Salmon.

Second.

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MS. LANNIN:

Well, Sam and Robin, I'm

going to give you both the honors of seconding.
All in favor of adjourning, say, "Aye."
(A chorus of ayes.)
MS. LANNIN:

Opposed?

Nay?
It's 4:41, and we are adjourned.
Thank you, ladies and gentlemen.
And thank you to everyone at the Mint
who has helped make this possible.
(Whereupon, the meeting concluded at
4:41 p.m.)

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CERTIFICATE OF NOTARY PUBLIC
I, TERRELL LEE, 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.
TERRELL LEE
Notary Public in and for the
District of Columbia

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CERTIFICATE OF TRANSCRIBER
I, KENDAL TAYLOR, 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.

KENDAL TAYLOR

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Citizens Coinage Advisory Committee (CCAC)
Public Meeting
Moderated by Mary Lannin, Chair
Tuesday, May 18, 2021
1:00 - 4:41 p.m.
Videoconference Meeting
Washington, D.C. 20220

Corrections to the Transcript:
Pg. 35 (line 4):
Pg. 111 (line 19):
Pg. 134 (line 12):
Pg. 150 (line 6):
Pg. 154 (line 4):

(“numismatically” replaces “pneumatically”)
(“draftsmanship” replaces “craftsmanship”)
(“artists” replaces “artist”)
(“Mint’s” replaces “Mints”)
(“Dennis Tucker" replaces “Mr. Tucker”)