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Capital Reporting Company
CCAC 5/19/2014
1

UNITED STATES OF AMERICA
DEPARTMENT OF THE TREASURY
CITIZENS COINAGE ADVISORY COMMITTEE
801 Ninth Street, N.W.
Washington, D.C. 20220
PUBLIC MEETING

Monday, May 19, 2014
12:07 p.m.
Omni Hotel at Independence Park
401 Chestnut Street
Private Dining Room, Level R
Philadelphia, Pennsylvania 19106

Reported by:

______________________,

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Capital Reporting Company

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Members Present:
ERIK JANSEN
MICHAEL A. ROSS
DONALD SCARINCI
HEIDI WASTWEET
MIKE MORAN
GARY B. MARKS, Chairperson
MICHAEL BUGEJA, Ph.D.
JEANNE STEVENS-SOLLMAN
ROBERT HOGE
THOMAS J. URAM
MARY N. LANNIN
Also Present:
STEVE ANTONUCCI, U.S. Mint
CAROL BORNEMAN, Cumberland Gap National Park*
DEBBIE BRADLEY, Numismatic News*
AUTUMN H. COOK, Harpers Ferry National Park*
KATHY DILLABER, 9/11 Pentagon liaison
MAUREEN DRDAK, Artistic Infusion Program
DON EVERHART, U.S. Mint

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PAUL A. GILKES, Coin World*
MICHELLE KLING, March of Dimes
LAURIE LAYCHAK, 9/11 Pentagon liaison
PAUL LITTLE LIGHT, Crow Tribe
MIKE LUSTATER (ph), Coin News*
KRISTY LYSIK, March of Dimes
LAURIE MARKS
FRANK MORRIS, Artistic Infusion Program
VALERIE NAYLOR, Theodore Roosevelt National Park*
CAROLE O'HARE, 9/11 Pennsylvania liaison*
AMANDA PATRICK, Shawnee National Forest*
LES PETERS, Coin Update*
APRIL STAFFORD, U.S. Mint
TIM STONE, Fort Moultrie National Park*
MEGAN SULLIVAN, U.S. Mint
GREG WEINMAN, U.S. Mint
PATRICK G. WHITE, 9/11 Pennsylvania liaison*
*Appears via telephone.

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C O N T E N T S

Discussion of Letter and Minutes/Previous

8

Discussion of FY14 Annual Report

10

Discuss 2016 America the Beautiful Quarters

19

Program Design Themes
Review and Discuss Candidate Designs for

81

the Fallen Heroes of 9/11
Review and Discuss Candidate Designs for

191

the 2015 March of Dimes Coin Program
Review and Discuss Candidate Designs for
the Code Talkers Recognition
Congressional Medals Program
(Crow Tribe)

* * * * *

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P R O C E E D I N G S
CHAIRPERSON MARKS:

Calling this May

19th, 2014 meeting of the Citizens Coinage
Advisory Committee to order.

Thank everyone for

being here today.
It's my understanding that we may have a
couple of guests from the Artistic Infusion
Program in the audience.

And I am going to put

you on the spot just to have you introduce
yourself so that we know you are here in the room.
MS. DRDAK:

Maureen Drdak, a visual

artist, Fulbright fellow.

And I've been very

pleased to be selected to come on board at design
of the Mint.

So I am here as an observer.

CHAIRPERSON MARKS:
MS. DRDAK:

Thank you.

CHAIRPERSON MARKS:
MR. MORRIS:

Welcome.
Welcome.

My name is Frank Morris.

I'm just delighted at the occasion to attend my
first CCAC meeting.
CHAIRPERSON MARKS:

Great.

We are so

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pleased to have both of you here.
else?

Is there anyone

I don't want to miss anyone.
MS. STAFFORD:

Not at the moment.

There

may be some joining us as the meeting progresses.
CHAIRPERSON MARKS:

Okay.

And I'm also

pleased to have members of the engraving staff
from the Mint here also.

So welcome to you also.

UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Mr. Chairman?

Yes?

UNIDENTIFIED SPEAKER:

We should swear

in Mary.
CHAIRPERSON MARKS:
get there.

Yes.

We're about to

We're about to get there.

So at this

point, I'll ask Mary Lannin, our newest member, to
come forward for swearing in.
UNIDENTIFIED SPEAKER:

This is one of my

favorite parts of this job, is welcoming new
members of the Citizens Coinage Advisory Committee
to the Committee.
(Ms. Lannin was sworn.)
UNIDENTIFIED SPEAKER:

Congratulations

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and welcome.
(Applause.)
UNIDENTIFIED SPEAKER:

Ladies and

gentlemen.
MS. LANNIN:

Thanks.

I can hardly wait

to be active in this and to know all of you
better.
coinage.

And I think you all have my passion for
So it will worth this.
UNIDENTIFIED SPEAKER:

Thank you.
Welcome.

And

we're glad you're here.
MS. LANNIN:

Thank you very much.

(Applause.)
CHAIRPERSON MARKS:

Thank you, David.

Thank you, Mary, for your willingness to serve.
MS. LANNIN:

I'll be back.

CHAIRPERSON MARKS:

Okay.

Before I go

any further, I will be remiss if I don't introduce
the one person in this room that I consider the
most important to me.

Sorry to all the rest of

you, but that is my gorgeous wife, Laurie, here in
the blue.

She has been gracious enough to agree

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to come along on this trip with me.

So I just

wanted to recognize her and welcome her to this
meeting, too.

Stay for as much as you wish.

MS. MARKS:

As I can stand.

CHAIRPERSON MARKS:
time in Philly.

This is her first

So she gets a chance to leave the

meeting early and go do something on her own if
she wishes.
DISCUSSION OF LETTER AND MINUTES/PREVIOUS
CHAIRPERSON MARKS:

Anyway, with that,

you know, the minutes and the letter were not
something that Mary was subject to.

So I am going

to go ahead and look at the minutes and the
letters from the two previous meetings; actually,
three depending on how you look at it.
You should have received from me last
week minutes for the March 10th, March 11th, and
April 8th meetings.

And along with that came

letters of recommendation to the Secretary of the
Treasury for recommendations we made at the
meeting of March 10th and March 11th.

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There is no letter at this current time
for our meeting on April 8th as that meeting was
primarily -- well, actually, there were two issues
we discussed there, but the focus of that meeting
was our recommendation concerning the reverse of
the silver American eagle coin.

And, as the

members are aware, that is a process that is still
working itself out.

We have turned that over to

the Mint with a request that they make some site
alterations to the design that we will likely
recommend.

And that will be coming back to us

later, I'm guessing later this year.

And at that

point when we make a recommendation, there would
be a letter that would be associated with that.
So if there is any discussion about the
minutes or the letters, I would entertain those at
this time.
(No audible response.)
CHAIRPERSON MARKS:

Okay.

Hearing none,

then I will ask for approval of the minutes and
the letters all as one motion if that is to the

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liking of the Committee.
MR. JANSEN:

I hereby move to the accept

the minutes from the March 10-11 and April 8th
CCAC meeting as well as the letters to the
Secretary of the Treasury from the 10th and 11th
of March.
CHAIRPERSON MARKS:
MR. HOGE:

Is there a --

Second.

CHAIRPERSON MARKS:
that.

Okay.

Robert seconded

It's been moved and seconded to approve all

of the minutes noted and associated letters.

All

of those in favor please indicate by saying aye.
(Chorus of "Ayes.")
CHAIRPERSON MARKS:

Opposed?

(No audible response.)
CHAIRPERSON MARKS:
unanimously.

Motion carries

Thank you.

DISCUSSION OF FY14 ANNUAL REPORT
CHAIRPERSON MARKS:

That takes us down

to our next item, which is the discussion of our
fiscal year 2014 annual report.

As a Committee,

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we have not had a specific discussion about our
annual report for fiscal '14.

However, we have

made some preemptive actions that impact that
report.
Members will know that one of the
central features of our annual report is
fulfilling a requirement in the statute that
established us as a Committee that we make
recommendations concerning commemorative coinage
spanning a timeframe of five years beyond the
fiscal year, which the report denotes.

And those

would be calendar years, of course, for
commemorative programs.

So what that means is

that we are out to calendar year 2019 as the
farthest-out date for our commemorative
recommendations.
And I will remind the Committee that
prior to this meeting and at previous meetings,
the Committee already has agreed that for the two
recommendations that we would put forward for
2019, we would include the issue of the fallen

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firefighters, which is something that we have had
extensive discussion over the years, has been in
some of our previous annual reports but now some
years ago.
And then also we agreed unanimously that
the 50th anniversary of the moon landing with
Apollo 11 being in 2019, that that was an obvious
choice.

So we would normally have some discussion

about that fifth year out and what we would like
to recommend, but I'm here to remind you all that
we have pretty much done that already.
So if there are any other ideas about
our annual report, there are recommendations that
we traditionally make about circulating coinage in
there.

In the previous year, we had a

recommendation concerning our Liberty program that
the Committee passed a resolution in support of
earlier this year.
Also in there last year was the
recommendation concerning the Kennedy half-dollar,
which we now see that being brought forward

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through the Mint process for the 50th anniversary
of the Kennedy half.

And, if memory serves, I

think that was all that we had in the circulating
portion.
Also, we have a recommendation and have
had a recommendation for the last several years to
recommend an arts medal program.

That is

something that we recommended actually go forward
at our last meeting on April 8th.

And I'm excited

about that and hopeful that the Mint will be able
to make that possible.
Also, we have had a longstanding
recommendation that was in our last report
concerning the silver American eagle reverse with
the recognition that in 2011, we passed the 25year threshold for design change.

And so if the

design is something that the parties wish to do,
it is certainly within the realm of possibility
that that be accomplished.

And, again, we

reviewed many designs at the last meeting and have
a subject design now that we have asked for some

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modifications to for further review.
So might there be other items of
interest for the fiscal '14 annual report?

And if

there are, we would consider those as a Committee
now.

And if the feeling is that we have got the

report printed to where we want it, it would be my
intention to come back at the next meeting with a
draft, an actual draft hard copy, for everyone to
look at and to possibly act in final with final
action.
So are there any other comments or ideas
that the Committee would like to put forward for
our annual report? Erik?
MR. JANSEN:

Inasmuch as we kind of

maybe have finished this year up with the
dialogues that we have had today, I might put the
thought out there that the annual report might
include a simple paragraph mentioning kind of the
heightening, the thickening of the dialogue
started here today, just to memorialize them and
maybe cause a reader to sense a continuity that we

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want to continue.
CHAIRPERSON MARKS:
appropriate.

I think that's very

I'll make sure that we do that.

Are

there any other comments?
(No audible response.)
CHAIRPERSON MARKS:

Okay.

With that,

then, I'll move forward with preparation of a
draft for you all to look at.

And hopefully, with

space on the agenda being available for our next
meeting, we'll look at the draft at that point.
Okay.
Before I go any further, I wanted to
recognize that we have folks from the media who
are either in the room or with us via telephonic
communication.

And I would like to ask all of

those who are either here in the room or listening
in to please identify yourselves so that we would
be able to know that you are out there.
MS. BRADLEY:

Hello.

It's Debbie

Bradley from Numismatic News.
MR. GILKES:

Paul Gilkes from Coin

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World.
MR. LUSTATER:

Mike Lustater,

coinnews.net.
MR. PETERS:

Les Peters from Coin

Update.
CHAIRPERSON MARKS:

Anyone else?

(No audible response)
CHAIRPERSON MARKS:

Okay.

Well, I want

to welcome all of you to this meeting.

And if

after the fact you have questions, I will
encourage you to contact me as the representative
of the Committee.

And I'd be happy to respond to

any questions you might have.
So, with that, I want to initially just
discuss our meeting and what participants in the
meeting might expect today.

We are a Committee

that advises the Secretary of the Treasury on
designs, on our nation's coinage, national medals,
and Congressional Gold Medals.
some of the medal work today.
doing a lot of it today.

And we're doing
In fact, we're

We're doing one coin,

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that being the commemorative for the March of
Dimes organization.
So as you listen or as a stakeholder
participate in our meeting, I want to make people
aware of what they might expect.

We are of a sort

a group of individuals who come from different
walks of life, who, for lack of a better term, act
as art critics, if you will.

And because of that

and wanting to bring great honesty to the process
because our work is very important, that we cull
through all of these -- that's cull, C-U-L-L -cull through all of these designs that we have
been given, 130 of them, by the way, if you
consider all of the programs.

So it's a tall

order for us to work through all of that today.
But as we go through those, I want folks
to understand that you are going to hear comments
that will cut both ways.

You will hear comments

where we may be very excited about a particular
design or set of designs, but also in taking our
role very responsibly and understanding that what

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we decide here today may well have an historical
lasting effect as it's carried through on a coin
or a medal, you may hear some comments that might
seem derogatory.

I want you all to understand

that we're trying to get to the best of the best
because that's what our nation deserves.
So if there are artists listening in who
have participated in these designs, we ask you
please try not to take any personal offense to
what we say, recognize that we all come to this
with different perspectives.

You may find a

couple of members being critical of one design and
others being supportive of it.
a matter of personal taste.

So a lot of it is

And that is why there

are so many of us here, so that there is a broad
spectrum of input on any program that we're
looking at.

So I just wanted to go over that and

make sure everybody understands what you hear from
us today.
Also -- and I'll probably repeat this
with each of the programs we go through because

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stakeholders will appear at different times -- we
will have stakeholders who come to us with
recommendations about the programs that they are
attached with.

And we will ask them to give us

their reports and tell us what they would like us
to know about the program and the designs that
they have looked through prior to us and some of
the preferences that they have.

And because of

the time limits that we have today, I am going to
ask that those stakeholders please help us move
the meeting along efficiently.

And we'll ask them

to give us their remarks prior to the Committee's
review.

And in the interest of time, we're

probably not going to be able to circle back and
take a lot of additional remarks.

And if we did

-- and we've done this before and gotten into
trouble, where we had so much input ahead,
actually, of the Committee's work that then the
Committee's work became rushed and we really
didn't do a good job.

And I don't think any of

the stakeholders want that to happen.

So we're

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going to try to move this meeting along in a very
orderly fashion and ask everyone to contribute at
their appropriate time in the meeting.

So I hope

everyone can understand and respect that process.
So, with that -- or, actually, I should
pause here for a minute.

Are there any comments

on anything that I have said from the Committee?
I don't want to go too fast here.
(No audible response)
DISCUSS 2016 AMERICA THE BEAUTIFUL QUARTERS
PROGRAM DESIGN THEMES
CHAIRPERSON MARKS:

Okay.

With that,

we'll go down to the next item on the agenda,
which is a discussion of the 2016 America the
Beautiful quarters program.
will be on design themes.
don't exist yet.

And our discussion
These are designs that

And so one of the improvements

that we have seen over the years on the Committee
is the Mint providing us an opportunity to
contribute to the narrative of the design themes
before any work is done.

And so that is what we

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have been asked to do here.
And so I'll guess I'll turn to the
staff.

And, April, do you have a report

concerning the narrative discussion?
MS. STAFFORD:

Yes, sir, simply that we

have background information provided from our
liaisons, a little bit of information on each
site, and then some input from them about
suggested devices.

And we should have some of our

liaisons on the phone with us as well.

And I

would invite them to add to that just for our own
discussion.
CHAIRPERSON MARKS:

Okay.

Were those

liaisons perhaps on the phone when I was going
through the prep here?
MS. STAFFORD:
yes.

Some of them might be,

We can check with that.

First of all, from

Shawnee National Forest, Amanda Patrick, who is
the public affairs officer.

Amanda, are you with

us as yet?
(No audible response.)

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MS. STAFFORD:
early.

It might be just slightly

Cumberland Gap, do we have Carol Borneman

with us?
(No audible response.)
MS. STAFFORD:

Harpers Ferry?

(No audible response.)
MS. STAFFORD:

Theodore Roosevelt

National Park?
(No audible response.)
MS. STAFFORD:

Fort Moultrie?

(No audible response.)
MS. STAFFORD:

We're a little ahead of

the agenda.
CHAIRPERSON MARKS:
MS. STAFFORD:

Yes, we are.

But, nevertheless,

obviously this is information that they are
familiar with.

So I can go through this and can

circle back around when they join us if you'd
like.
CHAIRPERSON MARKS:

In fact, when they

join us, if we can verify that they're all there,

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I'd like to just briefly go through the process
with them on the phone so they know what the
expectations are and so we can improve everyone's
satisfaction with this when we're done.
MS. STAFFORD:

Right.

CHAIRPERSON MARKS:

So if you want to go

ahead with your report, let's do that.
MS. STAFFORD:

So, again, this is

background information for the 2016 America the
Beautiful quarters program.

First is Shawnee

National Forest in Illinois.
Forest was designated in 1939.

Shawnee National
It is located in

the Ozark and Shawnee Hills of southern Illinois
and consists of approximately 280,000 acres of
land.

There are seven officially designated

wilderness areas within the forest.

And

representatives of the Shawnee National Forest
have identified Garden of the Gods Wilderness as
an appropriate feature for the quarter.
Garden of the Gods covers more than
3,300 acres and was created by dramatic erosion

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patterns, creating massive sandstone formations.
The area features 13 and a half miles of trails
with magnificent bluffs and breathtaking views.
Observation Trail is a popular quarter-mile trail
made of natural flagstone and leads to areas near
the bluffs where there are outstanding views of
the Shawnee Hills and the rock formations.

The

area features rocky streams, sheer cliffs, pine
stands, hardwood forests, rock overhangs, and
scenic vistas.
Through informal discussions with
representatives from Shawnee National Forest, we
have identified the following possible devices for
the 2016 America the Beautiful Shawnee National
Forest quarter.

First is Camel Rock, a famous and

iconic rock formation at Garden of the Gods; and
other formations, such as Table Rock and Devil's
Smokestack.
Moving on to Cumberland Gap National
Historic Park, which is in Kentucky.

Cumberland

Gap National Historic Park was established in

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1940.

The park itself is located at the border

where Kentucky, Tennessee, and Virginia meet.
Cumberland Gap itself is a natural break in the
Appalachian Mountains, long used as a gateway
through the mountains.
For centuries, Native Americans traveled
along a trail known as the Warriors' Path.
Beginning the late 1700s, pioneers and settlers
traveled along an historic wilderness road through
Cumberland Gap and into Kentucky.

It is estimated

upwards of 300,000 people traveled this route by
the early 1820s, people from all walks of life.
During the Civil War, Union and Confederate forces
vied for control of the Gap as it remained an
important route west.
Through informal discussions with
representatives from Cumberland Gap National
Historic Park, we have identified the following
possible devices:

Cumberland Gap, of course, the

natural notch in the mountains; and woodland bison
and elk, who use the gap.

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Harpers Ferry National Historic Park,
which is in West Virginia.

Harpers Ferry National

Historic Park was declared a national monument in
1944 and a national historic park in 1963.

The

park consists of almost 4,000 acres of land,
including the historic Town of Harpers Ferry.

It

is believed that the natural environment, the
landscape and the geography, directly influenced
the historical events that occurred here.

It is

an important area for both the Industrial
Revolution and the struggle of freedom and
equality.
The United States Armory and Arsenal,
the second federal armory, was built in Harpers
Ferry.

Much of the weaponry for the Lewis and

Clark expedition was procured here.

It was at the

armory that John H. Hall successfully demonstrated
the use of interchangeable parts in the
manufacturing of weapons.
In 1859, abolitionist John Brown led a
raid to attempt to capture the armory in order to

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start an armed slave revolt.

Less than two years

later, Harpers Ferry found itself on the boundary
between the Union and Confederate forces.

The

town exchanged hands numerous times during the war
and was the site of the Battle of Harpers Ferry,
which led to the capture of 12,000 Union soldiers.
Storer College, an historically black
college, was founded in Harpers Ferry in 1865 and
was the site of Frederick Douglass' famous speech
on John Brown in 1881.

It was the host of the

second conference of the Niagara Movement, an
early Civil Rights group.
Through informal conversations with
representatives from Harpers Ferry National
Historic Park, the following have been identified
as possible devices for the quarter:

John Brown's

fort; an iron railroad bridge leading into Harpers
Ferry; and the view from Jefferson Rock, although
it should be noted that this actually looks down
into Maryland and Virginia.
Theodore Roosevelt National Park in

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North Dakota.

Theodore Roosevelt National Park

was established in 1946 as a national wildlife
refuge.

The park is located in the Badlands of

North Dakota and is comprised of three areas:

the

South Unit, the North Unit, and Elkhorn Ranch
Unit.
The park was established to memorialize
the area's importance in Roosevelt's life and the
key role it played in fostering his conservation
ethics.

The park is one of the best places in all

of North Dakota for wildlife viewing.

Many

diverse types of animals make their home in the
park.

An abundance of native grasses provide

sustenance for grazing animals, both large and
small, while the tapestry of different habitats
attracts a greater number of birds.
The two main units of the park have
scenic drive, over 100 miles of foot and horse
trails and opportunities for hiking and camping.
The park is also a significant place in Native
American history.

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Through informal discussions with
representatives from Theodore Roosevelt National
Park, we have identified the following possible
devices:

young Theodore Roosevelt on horseback,

Roosevelt's Maltese Cross Cabin, and River Bend
Overlook.
Finally, Fort Moultrie, which is Fort
Sumter National Monument in South Carolina.

Fort

Moultrie is managed as part of the Fort Sumter
National Monument, which was established in 1948.
Fort Moultrie protected the City of Charleston and
its strategically important harbor for 171 years,
from the American Revolution through World War II.
While the fort was involved in the first
battle of the Civil War, it is the fort's role in
the American Revolution that makes it iconic.
Colonel William Moultrie and the second South
Carolina Regiment successfully defended a halffinished palmetto log fort against nine British
warships, marking the first decisive victory of
the Revolution on June 28, 1776.

During the

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battle, a British cannonball struck the fort's
flagpole and a regimental flag fell.

Sergeant

William Jasper jumped over the ramparts, walked
the length of the fort, recovered the flag,
attached it to a cannon sponge staff, and returned
the colors to the ramparts while all the while the
British were shelling the fort.

Sergeant Jasper's

efforts rallied the troops to continue to the
fight.

The British were defeated, and their plan

to invade the South was thwarted until 1778.
The regimental flag in the image of the
palmetto is now South Carolina's state flag.

And

the anniversary of the battle is celebrated in
South Carolina as Carolina Day.
Through informal conversations with
representatives from Fort Moultrie, we have
identified the following devices:

Sergeant Jasper

raising a flag, an image of the fort, and images
of the original cannons inside the fort.
That's the information on each of the
sites.

And, if we could, I would like to go back

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and check.

Do we have our site representatives on

the phone?

Shawnee National Forest?

(No audible response.)
MS. STAFFORD:

Cumberland Gap?

(No audible response.)
MS. STAFFORD:
MS. COOK:

Harpers Ferry?

I'm here from Harpers Ferry.

MS. STAFFORD:

Thank you.

With Harpers Ferry, we have Autumn Cook,
who is the park ranger.

What about Theodore

Roosevelt National Park?
(No audible response.)
MS. STAFFORD:

And Fort Moultrie?

(No audible response.)
MS. STAFFORD:
if we can be notified?

Okay.

I would just ask

If others call in, we can

pause.
UNIDENTIFIED SPEAKER:

One is calling in

now.
MS. STAFFORD:

Okay.

CHAIRPERSON MARKS:

Before the

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representative from Harpers Ferry got on the line
-- I'm saying this for her benefit -- I asked that
we get all of the representatives for the five
sites on the line.

At that point, I would like to

recognize them for their comments.
There are some preparatory remarks I
wanted to make when we have them all on the line.
So until we get to that point, in the interest of
time, I think I am going to go ahead and ask us to
begin our discussion.

We have the written

materials here that I know were developed with
each of those representatives.

So we already had

substantial information from them all.

And we'll

hear more when they're all on the line.
So, with that, I will start off.

And,

in the interest of our new member, I am going to
move the discussion to my right so that she has
the advantage of -MS. LANNIN:

Thank you.

CHAIRPERSON MARKS:

-- listening to all

of us before we put her on the spot.

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So, with that, I've said this before
about the America the Beautiful program.

And that

is that this is I think a really challenging
program for artists to produce designs that convey
meaning to each of these sites.

And I say that

because it is difficult to take those photos that
have lots of grandeur to them, which is really
kind of what some of these national parks provide
to us.

It's hard to take those sorts of images

and reduce them down to a coin that's
approximately one inch in diameter.
We talked about this this morning with
the engraving staff before this meeting, that
sometimes we get too caught up in the detail.

And

that kind of a design demands that there is
sometimes almost infinite detail put into what
becomes a very small image on a coin.

And because

of that, it doesn't have the pop that we might
expect from these iconic paintings and photographs
that we're used to from some of these places.
So, with that in mind, the Committee has

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been on record in some of these recent years
saying that we want to try to identify those
subjects or those things that can be portrayed in
a very simple way that convey the idea of beauty
or historical significance or what have you but
without the attempt to put a postcard, for lack of
a better descriptive, postcard image onto a very
small coin.
So, with that, as we look at these
things, I would encourage us to stay away from any
iconic photographs that we might be familiar with
with any of these sites and thinking that we want
to put those on a coin.
In the last series that we went through
-- and we reviewed those designs I think in
February of this year -- we had some wonderful
designs, some of them as simple as showing a bird
or an animal that populates a given national site.
I think, you know, those can work very well.

Some

of these, the historic sites, we ended up with
changing of a sword, with -- help me out on that

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one.
MS. SULLIVAN:

Saratoga.

CHAIRPERSON MARKS:

Saratoga -- yes;

thank you -- which I think ultimately could be a
fine design.

We're still waiting to see how that

produces as a coin.
So, you know, I don't know that I'm
going to have a lot of specific comments on each
of these.

I'm going to depend on some of the

members to weigh in on those.

I think you get the

general gist of the direction I had hoped we would
go.
I will comment on Theodore Roosevelt
National Park in North Dakota because I've been
there.

I visited the park.

My impression was

what I was taken with there was the bison.
seemed numerous there.

They

And for me, that's the

image I took away from it.
Now, bison is something for a theme that
we've seen many times on American coinage.

So if

we look at some designs that way, I would hope

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that we would try to find an interesting new
perspective on the American bison.

But certainly

from my visit there, that was an animal that was
important to that site.
So I also think that for Fort Moultrie,
the idea from the stakeholders that we have the
image of Sergeant Jasper raising the flag, I think
that could be an interesting image if we do it
with an interesting perspective.
That reminds me of the Star-Spangled
Banner silver dollar that we did a couple of years
ago with Liberty holding the American flag.

I

really enjoyed that image and was happy to see
that on the coin.

But because of that, I would

hope that if we look at an image like this, that
it be something that would be distinguishable,
significantly distinguishable, from something
we've done so recently.
So, with that, I think I am going to
recognize my colleague to my right, Heidi.
MS. WASTWEET:

Thank you, Gary.

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MR. WEINMAN:

I believe all five

representatives are on the phone.

All five

representatives are on the phone.
CHAIRPERSON MARKS:
MR. WEINMAN:

Oh, they are?

Yes.

CHAIRPERSON MARKS:

Okay.

You know

what, before we go any further, then, I want to
welcome each of the stakeholders who are joining
us on the telephone today.

My name is Gary Marks.

I'm the chairperson of the Committee.

And before

we jump into the details of our proceedings
concerning the programs that we're looking at, I
just wanted to give a little guidance or direction
on how we need to conduct the meeting.
We have a full agenda today.

And so

what we want to do is assure that the Committee
has appropriate time to really vet through all of
the ideas and make sure that we have some solid
ideas going forward.
So I am going to ask each of the
representatives from the various national sites to

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address us with their comments, their ideas, any
concerns you might have.
complete as possible.

And please be as

In the past, we have had

some instances where we ended up with dialogue
back and forth.

And we consumed all the time, and

then the Committee really didn't have a chance to
really talk in earnest about design themes.

So I

am going to ask each of the representatives to
really fill us in as complete as possible.

If you

have some burning comment you need to say after
you have made your presentation, then please let
us know that, but I would also ask you to
recognize that our time is very limited here.
So, with that, I am going to ask, April,
if you could recognize the representatives on the
phone and ask them for their comments.
MS. STAFFORD:

Sure.

And in case any of

our representatives from the five sites were not
with us, we read into the record the background of
each national park or site and then shared with
the Committee some of your thoughts on possible

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devices for the 2016 quarter that you have been
working with Megan on.
So, first, for Shawnee National Forest
from Illinois, Amanda Patrick, public affairs
officer, are you there?
MS. PATRICK:

Yes, I am.

MS. STAFFORD:

Hi.

Hello.

And, Amanda, we

shared that Camel Rock, which is the most famous
and iconic rock formation at the Garden of the
Gods, and other formations, such as Table Rock and
Devil's Smokestack, were some of the suggested
designs.

Would you like to talk a little bit

about that and/or the national forest?
MS. PATRICK:

Yes, just briefly.

The

quarter design was selected by the Tourism Office
in Illinois.

Camel Rock is the iconic, easy to

recognize, biggest draw for us in the forest,
focusing on natural features, central areas,
public land in Illinois.

Most will tell you Camel

Rock is the place they have been to in Garden of
the Gods.

It is our most heavily visited area.

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And the State of Illinois felt that it was the
most recognizable feature in their selection from
what I've read.
photos.

That is the reason we took the

And we have no reason to disagree.
MS. STAFFORD:

From Cumberland Gap

National Historical Park, again, we noted the use
of the actual natural notch in the mountains as
well as the woodland bison and elk, who use the
gap.

Do we have Carol Borneman, the chief of

interpretation, with us?
MS. BORNEMAN:

Yes, I'm here.

MS. STAFFORD:

Okay.

Carol, would you

like to share some of your thoughts about -- we
had a very vigorous discussion with Carol when we
were talking to her about some of the possible
devices.

Carol, would you like to share some of

your thoughts on Cumberland Gap with us?
MS. BORNEMAN:

Yes.

Have you mentioned

Cumberland Gap was the very first doorway to the
West?

So many times people think of St. Louis as

the gateway to the West.

Somehow people had to

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get to St. Louis.

So, again, this natural pass to

the -(Laughter.)
MS. BORNEMAN:

-- West allowed 300,000

pioneers to travel through the mountain barriers.
And, of course, Daniel Boone is the most iconic.
Again, the bison and the elk first created the
trail coming through the gap.

And, again, when

you look at the 300,000 people, they represented
people from all walks of life.
MS. STAFFORD:

Okay.

Thank you.

And, moving on to Harpers Ferry National
Historical Park, we should have Autumn Cook, park
ranger, with us.

We touched on the possible uses

of John Brown's fort, the iron railroad bridge
that leads into Harpers Ferry, and possibly a view
from Jefferson Rock.
MS. COOK:

Ms. Cook, are you with us?
Yes, I am.

MS. STAFFORD:

Would you like to share a

little bit about Harpers Ferry and your thoughts
on devices for the quarter?

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MS. COOK:

Certainly.

So we polled the

staff here, a staff of about 90 folks.

Not

everybody responded, but staff answered that what
best represents Harpers Ferry National Historical
Park was the idea of the natural heritage shaping
the cultural heritage.

We have interpreted there

were 200 years of history here.

And we believe

that the two most meaningful and globally relevant
aspects of this place are the Industrial
Revolution and the struggle for freedom and
equality.
MS. STAFFORD:

Okay.

Thank you.

Theodore Roosevelt National Park.

We

should have Valerie Naylor, superintendent, with
us.

Valerie, are you there?
MS. NAYLOR:
MS. STAFFORD:

Yes, I am here.
Okay.

So we shared with

the Committee earlier some of your thoughts on
possible devices for the quarter.

They included

young Theodore Roosevelt on horseback, Roosevelt's
Maltese Cross Cabin, and River Bend Overlook.

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Committee chair also started to speak to possibly
the use of bison on the quarter.

Can you talk a

little bit about the national park for us?
MS. NAYLOR:

We certainly can.

The

national park is a large Western natural park, but
it also has the cultural theme with Theodore
Roosevelt.

While I agree that the bison is

iconic, the state quarter for North Dakota had a
bison and the Badlands in the background.

And so

we wouldn't want to repeat that type of device.
So we thought something this year with Theodore
Roosevelt in the natural environment might be
appropriate.
MS. STAFFORD:

Okay.

Thank you.

And Fort Moultrie, Tim Stone,
superintendent, are you with us?
MR. STONE:

I am.

MS. STAFFORD:

Can you hear me?

Yes, sir.

Thank you.

We mentioned to the Committee some of
the possible devices we talked with you about,
including Sergeant Jasper raising the flag, an

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image of the fort, and images of the original
cannons inside the fort.

Would you like to talk a

little bit about Fort Moultrie and/or the devices
that you considered for the quarter?
MR. STONE:

I would be glad to.

As you

may have mentioned to everybody, Fort Moultrie's
history dates back to the Revolutionary War
through 1947, but it was decommissioned.
often associated with Fort Sumter.

So it is

But it really

for South Carolinians and I think the park staff
is a Revolutionary War battle time when the
British fleet was withheld and the story about
Sergeant Jasper breaking the flag, which
symbolizes for the South Carolinians really the
predominant image, I think, that people think of
as Fort Moultrie.

But you asked us to send a

number of images, which we did.

So there are

still a lot of iconic pictures of the fort to
date.

And a lot of the cannons are original to

the fort.

So you have a wide spectrum of images.
MS. STAFFORD:

Thank you very much.

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Turn back over to you, Mr. Chairman.
CHAIRPERSON MARKS:

Okay.

Thank you,

April.
I'm going to recognize Heidi for her
comments.
MS. WASTWEEK:

Thank you.

I just want to state that the reason
that we comment on these narratives before going
into the artwork stage is so that the artists
don't spend their valuable time and creativity
making beautiful drawings of subjects that we
think are not appropriate.

So it's great to be

able to comment at this stage.
I want to talk a second about the
Cumberland Gap.

In general, we don't, as Gary

said, encourage anything that could be a scenic
view that would be better on a postcard than on a
quarter.

So this is a challenge in the Cumberland

Gap because it is a natural formation.

So I had

an idea that perhaps incorporating some footsteps
or footprints into the design could represent the

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fact that this is a passageway; most importantly,
a traveling place.
On Harpers Ferry, I really like the idea
of the bridge as a topic.

The bridge itself, a

bridge, is symbolic between connecting two areas
together.

And this was an important part of this

site, was connecting the North and South.

I

really like that as an image.
On Fort Moultrie, we have a danger here
of seeing epic battle scenes, which we have seen
before.

And there's a lot of work that goes into

drawing those.

And they really I think are not

appropriate for the size of the quarter.
would caution against that.

So I

Keep it simple.

That's it.
CHAIRPERSON MARKS:

Thank you, Heidi.

Michael Moran?
MR. MORAN:

I'm going to hold my

comments to two of the quarters:
Cumberland Gap quarter.
Lexington.

first, the

As you all know, I'm from

I think we need to stay away from the

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animals associated with it, the bison, the
woodland bison and the elk.
Utah.

The elk are out of

The bison are basically on their way to

being bison burgers.
I think Carol did a great job of
alluding to what, really, the Cumberland Gap is
important for.

It was a passageway for people.

Heidi said it.

I'll say it, too.

I think the

design somehow needs to focus on the people who
traveled this pathway.

We don't need another

mountain with a gap in it.
The other part is the Theodore Roosevelt
ranch.

It's going to be very tempting -- and I

promise I won't meddle on this one like I have in
the past on Theodore Roosevelt -- for the parks.
And I'm on the advisory board of the association.
I want to caution you that it's going to be very
difficult to come up with a recognizable image of
Theodore Roosevelt as a young man.

There's no

question that his time on this ranch may have been
-- it built the timber within the man who became

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president.

How you get that down on this quarter

I don't know, but that's what artists do best.
CHAIRPERSON MARKS:

Thank you.

We'll move on to Robert.
MR. HOGE:

Thank you, Gary.

Regarding the Shawnee National Forest, I
wasn't aware that the Garden of Gods was an
important landmark there.

I am acquainted with

the Garden of the Gods of Colorado Springs,
Colorado, which is one of the most famous tourist
areas in the Rocky Mountains region.

And it so

happens that one of the best known rock formations
there is known as the Kissing Camels.

So there

might be a little bit of confusion here with the
Garden of Gods and the camels, but, you know, it's
a nice concept.

I would like to see the actual

Shawnee National Forest.
For the Cumberland Gap thing, I noticed
in our notes here it says "300,000 100,000
people."

I'm not sure exactly what that meant,

maybe just a typographical error or something.

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But I'm wondering if this might not be an
opportunity for us to use, you know, kind of a
wagon train, the beautiful Oregon Trail,
remembering the half-dollars of the 1930s.

This,

of course, conveys the idea that it's a very
iconic American thing.

So maybe wagons moving

through the pass of the gap is a possible suitable
gesture there.
Harpers Ferry is a place that I remember
fondly having visited many, many years ago as a
youngster.

And I was struck by in my memory the

historic town there, which looks very much as it
did at the time of the Civil War.
like that.

And I kind of

So the bridge, I don't know it.

John

Brown's fort, I believe that was the round house
of the railway area at that time.

Something like

that could be very effective for Harpers Ferry.
I'm partial to this one.
an original Hall rifle.

I'm the proud owner of
So, you know, the fact

that this was the armory of the United States
relates to my memory.

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The others I don't have any comments.
CHAIRPERSON MARKS:

Thank you, Robert.

Before I move on to Tom, I'm not sure
when all of the representatives of the locations
got on the phone.

But just briefly I want to make

sure you understand some of what you are hearing.
When you hear us talk about we don't really want
scenery, that sort of thing, on a coin, the reason
for that is that a lot of these national places
are known for their broad-sweeping panoramic views
or historic landmarks that are some formation of
the Earth.

And what we find is that oftentimes

because we're dealing with a palette that's one
inch in diameter, that there is no broad sweep to
it.
idea.

And it robs that image from that grandeurous
And you end up with something that is not

remarkable and does not really reflect well on the
historic or national place that we are trying to
celebrate with this quarter.

So our concern here

is that we give you a quarter that is something
that when we look back, we can say, "That was one

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of the great successes of this program."
And so with this Committee, you've got
some track record and experience on both sides of
that ledger:

instances where we have been very

successful as a Mint organization and others where
maybe not so much.

So I just want to make sure

that all of you folks on the phone understand the
reason for why we try to stay away from the images
that we're familiar with with some of these places
that are broad-sweeping panoramas or what, you
know, famous photographs or images that we're
familiar with.

So we try to look for those simple

representations that would serve well on a oneinch diameter palette.
So, with that, I'm going to go to Tom.
MR. URAM:

Thanks, Mr. Chairman.

Recently I had an opportunity to speak
to a group of assembly of sixth, seventh, and
eighth graders.

And I told them when they look at

their coins, they have history in their hands.
And I think all of these, whether it's the state

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quarters or this program, how do you get someone
who might look at that quarter and say, "I'm
interested in that park" or "I'm interested in
learning about that park" or "I'm interested in
wanting to go and see what that park is all
about"?
And so, as we do the designs, as
mentioned earlier, they're tough because you do
have certain elements that are relative to them
all.

And then on the same token, when you get

that quarter in your hand, what is going to make
you want to investigate it a little bit more?

And

so a couple of them are a little bit more relevant
than others as far as the design goes, but I think
that, regardless, it's a challenge.
The Cumberland Gap I think that is great
with the footprints.

And maybe a wagon or

something to that effect, as Heidi had mentioned,
puts a lot of motion into the coin.

You know,

what makes that coin pop in motion in saying,
"Okay.

That might be once again someplace I might

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want to go."
The Harpers Ferry, the historical town,
the bridge, the railroad bridge, and so forth,
maybe that could be all incorporated, where -- you
know, trains are great.

You know, it's baseball.

Trains and bison, good stuff.

And so, once again,

that might perk an interest in learning more about
what it is about.
Just as mentioned earlier also on the
Teddy Roosevelt, to get that younger design,
younger image of Teddy Roosevelt and to project
that is a challenge for our artist on that one as
well.

But I think there is a lot to work with.
And then I kind of like the idea of the

fort as far as since the raising of the flag with
such a significant time and presence and that the
troops recognize that, maybe something showing,
getting that flag and raising that flag.

I kind

of like that concept as it would go forward.
Thank you, Mr. Chairman.
CHAIRPERSON MARKS:

Thank you, Tom.

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With that, we'll move down to my friend Michael
Bugeja.
DR. BUGEJA:

I have taken some time to

figure out the challenge that the Mint's artists
are going to have with this and why the state
quarters program was so successful and why the
parks program is more of a challenge.

So just

bear with me.
We have George Washington on the
obverse.

So every state will be associated with

George Washington on the reverse.

Okay?

That's

number one.
When you're doing state parks, you're
not having that association.

Additionally, if you

take a look at commemorative coins that have
memorialized locations, like parks, they have had
the opportunity of having an obverse speak go the
reverse.

We're not having that in this series.

It's not really well-thought-out, to be honest
with you.

I know that is a controversial

statement, but I stand by it because you can't

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keep having George Washington relate to parks in
which he's had no actual responsibility, as he has
had with the state.
And if you take a look at the
commemorative coins of the silver coin era, you
see that many of those designs are storyboards.
And we would have criticized them had they come
here.

This is a very difficult design to execute.

So if you go back to taking a look at the silver
commemoratives that have succeeded, even with the
grant, you have a storyboard of his house with the
grant commemorative, but at least there is a
president on there.
The Lafayette coin has George
Washington.

And that is associated with the

Lafayette coin.

So that's not going to do you any

good as well.
If you go to take a look at Antietam,
Antietam is another storyboard, just the exact
type of design that we've been criticizing the
Mint for.

They're running into the same problem

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with fewer restrictions.

Pay attention to that

because they have the opportunity to put in -now, the general's on Antietam on the obverse,
speaking to the bridge on the reverse.

The Mint

artists don't have that.
If you go to take a look at the Bay
Bridge, I mean, we would have criticized the Bay
Bridge as another storyboard that's way too busy.
Believe it or not, there are a few that work.

So

just bear with me.
Now, if you take a look at what we have
often touted as one of the best designed coins of
all time -- and that's the Oregon series -- you
have an obverse speaking to reverse again.
you don't have this.

And

Now, that reverse there is

busy, but it works because of the obverse with the
Native American saying no to westward expansion.
If you go to the Panama, we have again
-- you get the presidential type of eagle, the
heraldic eagle.

I think that's kind of a copout

there.

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Now, one that really works for me and
I'm going to recommend taking a close look at is
the Spanish Trail commemorative.

The device, you

know it has the steer on the front.

That doesn't

matter, but the reverse has an image from that
location with a map of the Spanish Trail with
generous devices.

This is one of the few coins

that actually create a location and celebrate it.
There's one more left here, one that I
liked as well, and that's the Stone Mountain.
have your eagle perched on a mountain.

You

It's a

half-dollar size, which is a smaller planchette.
But the reverses of coins in the state
parks program don't have necessarily the
obverse/reverse connection.

This is something

that I consider one of the greatest artistic
challenges for the Mint in U.S. coinage.

And

because it's happening now at our current time, we
don't realize the design problems that we have
until you take a look at how others, whom we tout
as classic designers, get us storyboards.

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So, with that, I recommend that we take
a look at all of these, not in terms of
obverse/reverse but what reverse symbol there will
work on its own to celebrate that park without
having the numismatic conversation edged in
observe.
CHAIRPERSON MARKS:

Thank you, Michael.

And I'll just add these comments.

Early on in the

program, the Committee got an idea too late.

And

that was -- gosh, it would be a great idea if we
put in a Roosevelt on the obverse of the America
the Beautiful program for its duration and perhaps
restore Washington if we needed to at the end.
But the legislation had already been crafted and
approved and signed by the President.

So it was a

little late for that.
But, you know, Teddy Roosevelt was
instrumental in the early formation of the park
system and all of that.

It would have been a

wonderful combination.
DR. BUGEJA:

Absolutely.

Absolutely.

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CHAIRPERSON MARKS:

I think that's what

you were talking to, Michael.
DR. BUGEJA:

Absolutely, Gary.

CHAIRPERSON MARKS:

With that, Donald,

if you're ready, I'd like to hear your comments.
MR. SCARINCI:
ready.

Yes.

Yes.

I'm ready.

I'm

You know, I have the advantage of

looking along as he's talking about the
commemoratives that he's referring to.
interesting.

You know, that's why.

And it's

I mean, I had

said earlier no two people will ever agree on art
or -- you know, well, that's not totally true, but
it's difficult to get people to agree on art.
And, you know, I don't like the Spanish
Trail commemorative.
(Laughter.)
MR. SCARINCI:
favorite.

You know, it's my least

And I think at some other time we

should talk about -- we should really delve into
maybe even do that tomorrow in the artist infusion
remarks.

I think we need to really define very

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clearly what we're talking about when we refer to
storyboards because I think when we talk about
storyboards, I'm not even sure we're all saying
the same thing, you know.
And after listening to Mike and looking
on, my definition for a storyboard might not be
the same as his.

And maybe there's a way to

define better for the artist.

I could see if

we're not saying the same thing, they've got to be
totally confused.
DR. BUGEJA:

That's right.

MR. SCARINCI:

So it would be good if

you can cover that tomorrow.

But for purposes of

what we're doing now, you know, I mean, I will
never say we're stuck with George Washington on
anything ever.

You know, he was a hero.

know, it is what it is.

But, you

And we really in this

particular case, notwithstanding everything that
we said earlier today about, you know, a threedimensional object as a work of art, in these
quarters, just like the state quarters that came

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before it, we're dealing with one side.

And

that's all we've got to work with.
DR. BUGEJA:
MR. SCARINCI:

That's right.
And there really is no

reference.
DR. BUGEJA:
MR. SCARINCI:

Right.
The reverse doesn't

reference the obverse at all.

And, by

legislation, it's not designed to.

And, you know,

whatever we all may think -- and we answer to a
higher authority, the Secretary of the Treasury
and the Congress of the United States.
decided that we need to do this.
they are right.

And they

So, therefore,

And we're going to just comply

and do the best that we could given the uniface
nature of the design that we're called upon to
come up with.
And, you know, landscapes are always
difficult.

And, you know, other than Ron Dutton,

I don't know of anyone who does it, you know,
quite the way he does it.

And when he does

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landscapes like, you know, on metal -- and I don't
know if other people can do it the way he does it,
but -MS. STEVENS-SOLLMAN:

Simply.

He does

it simply.
MR. SCARINCI:

Simply, you know, and

probably not in the relief that we're stuck with
using.

So I don't think he could even do this in

the relief we're stuck with in the small nature of
a quarter that's blown up to a hockey puck in the
larger variety.
But I think that the ones that have
worked in the series that we have done so far -and I think, you know, here we are well into the
series.

So we really always have to be mindful

for the ones that come before in the same series
because that's how they will be collected.

And

these coins are heavily collected, just like the
state parks coins.

You would want to come up with

as simple a landmark design as you could.
Things that didn't work in the past, you

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know, are the little die on the little scaffold
that you need a magnifying glass to see on the
quarter in the Mount Rushmore coin.
kind of was a little silly.

That really

Well, it even looked

silly on the hockey puck.
But, you know, I think what you want to
do is communicate just the big sweeping image.
And if you can do it, you know, if you can do it
with a view or a feeling or communicate something
more ephemeral than a specific thing, putting
multiple images on one of these landscapes, you
just can't do it.

And I think for the most part,

we haven't done it.
I think on the two inconsistent things
that I am going to say, with respect to the
Theodore Roosevelt National Park, yes.

I mean, it

would have been awesome in a perfect world to put
Theodore Roosevelt on the obverse, but that wasn't
going to happen.
to happen.

You know, that just wasn't going

But that would have been great if it

could have happened.

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And I am concerned in this case about
seeing, you know, Theodore Roosevelt on horseback
here.

You know, I would personally prefer not to

see that.

You know, I think we've commemorated

Theodore Roosevelt on coins.
Theodore Roosevelt.

We've got images of

And I think going to his

cabin or if you could do something with the old
relic or if you could do something else -- maybe
there's a view from the cabin, you know, you can
have the cabin in the foreground or maybe it's
just the cabin, rather than attempt to

put on the

reverse of a quarter Theodore Roosevelt on
horseback.
And, you know, if you were inclined to
do Theodore Roosevelt on horseback, then let it
just be all there is, just Theodore Roosevelt on
horseback, keeping in mind the small size of a
quarter, not trying to crunch it.

You know, if

you have like a tiny Theodore Roosevelt on
horseback, it's going to look like those hideous
Lincoln pennies that we did where, you know, it's

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the size of a little -- looks like a bug.

You

know, Mr. Lincoln on the reverse looks like a bug.
So I think you want to avoid that and not fall
into that temptation.
If you want to do one on horseback
because other members of the Committee might, you
know, be compelled -- I know there's a love affair
with T.R. here.

But I would just make that in.

That's the whole point.
And that's inconsistent with what I'm
about to say with Sergeant Jasper raising the
flag.

That's not a trite or overdone image.

You

know, it's not something in any recollection of
mind that we've ever done on a United States coin
before.

You know, I would say it would be a

central -- you know, certainly a central image for
Fort Sumter.

So you might be able to do something

cool with that.
And, again, if you're going to depict a
flag raising, you know, let's not reproduce the,
you know, Iwo Jima thing.

Let's not do anything

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like that, you know.

But if you could do it,

maybe that's the entire image:

Sergeant Jasper

raising the flag.
And I'm not saying, you know, that's the
greatest thing to do here with Fort Sumter.

Maybe

there are other things you can do, you know,
depicting a fort.
I don't like the idea of cans.

We're

not clearly able to distinguish one can from
another by the time you get down to it on a
quarter.

So, you know, while it might be kind of

fun and nice, you really can't make out one can
versus another can.

You know, I mean, that does

create some fun to find the error that you made in
the cannon when somebody puts it under a ten-power
microscope and looks for it.

But for the purpose

of what we're trying to do with this program, it's
probably what you're going to do.
So, anyway, that's it.
CHAIRPERSON MARKS:

Thank you, Donald.

Jeanne?

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MS. STEVENS-SOLLMAN:

Well, what can I

say after following Donald's comment?

Thank you,

Mr. Chairman.
I think I am not going to address each
one of these parks because it is just going to be
redundant, what I say.

But what I would really

like to put to the artist is an icon from those
parks that is just so unmistakably what the park
is.

And, you know, I look at the idea that, you

know, we could put a single image of Camel Rock or
Table Rock or the Devil's Smokestack, you know,
big on the coin and then have that background park
image just fade away.

And I feel like that is

what should be done with all of these parks where
you have the one big image, the bridge, the gap
where the gap is like so huge, and maybe some
little wagons going through it.
But, basically, the icon should be
overpowering because we have a small surface.

And

in that small surface, we have to make a huge
statement.

And if we want to follow Tom's idea of

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having young people collect or go to the parks or
see something, I think it has to hit them in the
face.

It has to hit me in the face to be great.

And so far I have just been gently slapped.
(Laughter.)
MS. STEVENS-SOLLMAN:

So I want you to

come back and just give some power to it.

Don't

be afraid to not put in all the little stones.
You know, it's like we don't need that.

We just

need the image of what made this park so special
to everybody.
And I think that your finding it
yourself and giving us your powerful image, one
image of that park, all of these parks, I think it
would be just outstanding.
So I wish you all a lot of luck because
it is going to be hard.
MS. DRDAK:

May we ask any questions?

I

am hearing two things here, and I need to be clear
in the intake of the information because I am
viewing this as kind of like a marketing piece.

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MS. STEVENS-SOLLMAN:
MS. DRDAK:

Yes, yes.

I think what you are talking

about is creating an image that has monumentality
to it.

And if you look at any of the great coins

throughout history, back to the Roman court, the
ones that are monumental are very simple.
MS. STEVENS-SOLLMAN:

That's right.

That's right.
MS. DRDAK:

They have to be within a

small amount of space.
has to look good.

And, further, the design

No matter how you throw that

coin down on the table, even if it's upside down
to the viewer, -MS. STEVENS-SOLLMAN:
MS. DRDAK:

-- it still has to have a

pleasing aesthetic outline.
part.

That's right.

So I'm getting that

So my question is this, to what degree do

the collectors -- are they kind of like obsessed
with putting the coin under the microscope?

And

to what degree does the micro come into the macro?
MS. STEVENS-SOLLMAN:

You know what?

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That's something I think you have to ask a
numismatist.

I am not a collector as such.

I

collect but not like these gentlemen, who are
obsessively collectors.
But that's something that is -- you
know, when I see a coin, I'm seeing this with my
naked eye.

And, you know, when you take something

out of your pocket and you give it as change or
you want to show something, most of the time
people don't have a loop with them.

And so I am

only addressing what the general public, the
common man is seeing.

And I would like to see

that wild thing.
Now, if you want to go back and carve
little tiny things in when you want to satisfy
that collector's need, well, that is a different
issue.

But basically, you know, I am looking at

how this is stamped out, how much imagery we can
get on what we're doing.

And I think big is

better than less.
MS. DRDAK:

Yes.

My question, the

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reason why I am asking this -MS. STEVENS-SOLLMAN:
MS. DRDAK:

Yes.

-- is because essentially I

want to know who my customer is -MS. STEVENS-SOLLMAN:
MS. DRDAK:

Correct.

-- you know, and what they

are attracted to with each one.

I mean, I know

what the design looks like.
MS. STEVENS-SOLLMAN:

Good.

Yes.

And

that's what we want.
MS. DRDAK:

But also in my experience,

generally when you're designing a product, often
there are a lot of conflictual and contradictory
-MS. STEVENS-SOLLMAN:
MS. DRDAK:

Right.

-- desires that come into

play.

We want this.

We also want this.

this.

And you also want this.

You want

So that's why I'm asking you this.

In

your experience, to what degree have you gathered
any information to this extent so that the coin

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design appeals broadly but also addresses the
important micro audiences.
UNIDENTIFIED SPEAKER:

Gary, can I just

take a stab at who the customer is?
CHAIRPERSON MARKS:

Hold on.

all, I appreciate the comment.

First of

In the interest of

time, though, I am going to answer for the
Committee.
I am a collector.
collector since 1973.
coins.

I have been a

So I've seen a lot of

And I think what your customer is looking

for is something that has a focal point that has
some simplicity to it without the detail being
overdone.
Because we tend to take these -- I was
talking about this earlier today with some of my
colleagues.

You take these big images that we're

given that are seven inches across.

And we're

asked to make some recommendations based on these.
That's not what is going to be produced.
What's going to be produced is something on a much

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smaller caliber, -MS. DRDAK:

Right.

CHAIRPERSON MARKS:

-- as you well know.

And so, therefore, the detail disappears or can
actually because of the numerous nature of it on a
little disk -MS. DRDAK:

Clog it up.

CHAIRPERSON MARKS:
confuse the design.
key word here.

-- can clog up or

So simplicity I think is the

And giving the coin a focal, a

singular focal, point when you look at it, there
is a singular image that your brain is
interpreting because there's not enough space on
the coin to do much more.
MS. DRDAK:

Right.

CHAIRPERSON MARKS:
MS. DRDAK:

Got it.
So I hope that is --

That is very helpful.

CHAIRPERSON MARKS:

-- helpful.

With that, we really do need to move on
to Mary, our newest member.
MS. LANNIN:

Okay.

I'll be very quick.

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CHAIRPERSON MARKS:

And, you know, Mary,

to her aid, I want to let everyone know that she
was handed these materials when she walked into
the room today.

So being the new member, I hope

that is not an initiation.
MS. LANNIN:

Okay.

I promise to be

better next time.
CHAIRPERSON MARKS:
turn it over to Mary.

So I am going to

Give us your comments,

please.
MS. LANNIN:

Okay.

First of all, what I

see here for these national parks is you've got
sort of two choices.

You can either have

something that is in the landscape, this is like a
really wonderful place to visit, like Cumberland
Gap, where there is something very iconic; or
there is an event, like Jasper raising the flag.
To me, the unifying element that makes me as a
collector, even if I see it upside down and want
to pick it up, is it's simple.

You have picked

out that iconic part of it, whether it is a rock

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or whether it is a hand raising a flag.
And so someone who is familiar with that
area, even as a visitor from another state, will
go, "I was there.

I remember that."

And so for

Jasper, if somehow there can be a little aspect of
a fort so that it's not just a disembodied hand
and flag, that's going to make a difference.
I want it clean.

I want it really simple.

Look at these.
glasses.

But

They're 14.99.

These are drugstore
Someday I will pay more

for glasses, but in the meantime, I want to be
able to pick something up and actually recognize
what I'm looking at.

And I don't want to look at

little teeny-tiny things.

I can't do that

anymore.
Over to you.
CHAIRPERSON MARKS:

And that moves us to

Erik.
MR. JANSEN:

I want to ask the liaison

agents and to a certain extent our program manager
to go back to the beginning.

And, instead of

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culminating with nouns as kind of iconic or
opportunities for designs, I'm going to say give
me a list of verbs.

Give me a list of verbs that

tell me about Shawnee National Forest.

Give me a

list of verbs.
You know, I think Ms. Cook did an
interesting job.

They weren't verbs, but they are

not the list that we got.

She said the operative

keys to Harpers Ferry are the Industrial
Revolution and the pursuit, the creation of
freedom for the slaves in their moving North.
me, that is a list of emoting ideas.
list of verbs.

To

That's a

That's a list of actions.

That's

a list of fireworks.
And so my overarching comment here today
is -- and it applies today.
we had done this.

It applied last time

It applies in the future.

I

would love to see ideas that culminate each of
these write-ups, maybe three nouns and give me
three verbs because I think action designs speak
from action images.

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And I think action designs are the
things -- and I can't remember.
down -- maybe Tom said it.

It was someone

If a design makes me

want to go there, it's a great design.

If a

design makes me go, "Gosh, I want to know about
that place.

I never heard about that joint,"

that's a great design.
And I think things that don't do that
are the designs we go, "Well, that one didn't work
out so well, did it, in the past?"

So I don't

have the answers, but I do have those questions.
And so I loved, Heidi, your thought of
Cumberland Gap being like a bunch of footprints.
There's kind of some action.

What is that about?

Lots of people going through there.

I don't know

how you integrate that into an image, but it's not
a postcard.

It's not a picture on metal.

It's an

action-invoking thought.
So that is the best I can do.
CHAIRPERSON MARKS:
members for their comments.

I want to thank the
In the interest of

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time, I am going to ask that if you have
additional comments, that you maybe reduce those
to an email and get those to the people who need
to know about them.

We have managed our time well

enough that I am going to ask each of the
representatives on the phone if they could give us
-- I'm sorry.

I can only give about a minute

each, but at least some sort of a response back or
ideas back from all you've heard or maybe
something we've missed.

I want to make sure that

we give you that opportunity.
And before I relinquish to Mike in this
subject, I want to ask all of the artists who
maybe listening try not to listen to what we have
said here today as excluding other ideas that
maybe you may have in your mind that weren't
addressed here.

I think the Committee really does

enjoy getting a broad sweep of different ideas
about a particular place in reference to the
America the Beautiful program.
Also don't take one comment from one

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member as indicative of everybody on the
Committee.

Not to pick on any comment, but I

wouldn't mind seeing a cannon.
of cannons proposed.

We have seen a lot

Memory doesn't serve that we

have seen a lot of cannon images produced.

So

maybe we can get the image correct, like the
comment earlier was correct that, you know, people
like me who collect these things, some of us are
extremely anal and will go down and look and make
sure that is exactly the right type of cannon,
that fort, or what have you.

So there needs to be

some attention to that without getting into too
much detail.
So, with that, I want to leave some time
for each of the representatives to give us some
feedback, if you will.

We do need to be finished

with this exercise at the bottom of the hour.
we've got a few minutes to do that.

So

So, April, if

you could recognize each of these individuals -MS. STAFFORD:

Sure.

We'll start with

--

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CHAIRPERSON MARKS:

-- we would

appreciate it.
MS. STAFFORD:

Absolutely.

We'll start

WITH Amanda Patrick, public affairs officer at
Shawnee National Forest.
MS. PATRICK:
all.

I will say this.

Yes, ma'am.

Thank you

I know it is not easy

trying to visualize why each of these areas is
deemed special in our eyes.

So thank you for your

patience.
I will say this.

Being originally from

Kentucky and moving to Illinois, I had this
picture of broad, flat expanse of land when I
moved here to southern Illinois.

And with regard

to the Garden of the Gods, it was that pop, that
wow factor, unlike it is it in any of the states.
And when you're standing up there and you're
looking at Camel Rock and you're understanding the
history, it is that wow factor.

It sets us apart.

And it is so you understand when you're there.
So I am happy to provide additional

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information.

Thank you all today for letting me

be a part of the call.
MS. STAFFORD:

Thank you.

Really

appreciate you being with us.
Next I'll go to Carol Borneman, chief of
interpretation at Cumberland Gap National
Historical Park.
MS. BORNEMAN:

Well, one of our main

trailheads, which takes people to the trail
leading up to the gap, we do have footprints in
the concrete.

So the idea, yes, we have moccasin

prints for the American Indians.

We have the, you

know, barefoot wagon wheels, although it was only
about 20 years that wagons were really used.
was basically foot travel.

It

And then even when

people came to the gap themselves, they had to
disassemble their wagons and hand carry everything
across because of that rugged topography.

So the

footsteps are more appropriate than even wagon
wheels.
MS. STAFFORD:

Thank you.

Really

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appreciate you being with us today, Carol.
Next I'll go to Autumn Cook, park
ranger, Harpers Ferry National Historical Park.
MS. COOK:

Thank you again for letting

us be part of the call and to make comments today.
The bridge was a new idea that I talked
to with an artist and Megan a couple of weeks ago.
And it sounds cool.
any objections.

And we don't have, really,

We're looking forward to

continuing our talks with the artists and figure
out what best represents Harpers Ferry and a place
that has 200 years of history, 6 different themes
that we interpret.

So I don't think there could

be one thing that could encompass it all, but we
definitely want something that, like was said,
that would make people want to visit Harpers
Ferry.

So that is really our goal.
And we look forward to you continuing to

work with us.

Thank you.

MS. STAFFORD:

Thank you for being with

us.

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Next we'll go to Valerie Naylor,
superintendent of Theodore Roosevelt National
Park.
MS. NAYLOR:

Thank you.

Theodore Roosevelt National Park is
mainly known for its wildlife and ultimately the
history of Theodore Roosevelt.

So if there is

some way that we could incorporate both of those
along with the uniqueness of the scenery, that
would be wonderful.
Thank you very much.
MS. STAFFORD:

Thank you.

Appreciate

your time.
And, finally, Tim Stone, superintendent
of Fort Moultrie, Fort Sumter National Monument.
MR. STONE:

Thanks for letting us be

part of this call.
I think we very much agree with what we
heard.

I thought there was a lot of good

discussion.

Sergeant Jasper and what he did to

pull the flag up has a lot of action.

It's a good

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visual and I think, listening to the comments, the
type of vigor that I think would work well on a
quarter.
So, again, thanks.
MS. STAFFORD:

Okay.

CHAIRPERSON MARKS:

Thank you.
Okay.

I want to

thank all of the representatives from various
locations that are being honored to the program
for this installment of America the Beautiful
program.

I want to thank all of the artists that

are here in the room, whether it be with the
Infusion Program or in-house staff.

And the

members, I want to thank you all for your
thoughtful comments.

We'll look forward to seeing

the results of all of this when it comes back to
us in the form of actual designs.

So stay tuned

for that.
REVIEW AND DISCUSS CANDIDATE DESIGNS FOR THE
FALLEN HEROES OF 9/11
CHAIRPERSON MARKS:

Okay.

So at this

time on our agenda, we're going to begin our

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review/discussion on the candidate designs for the
fallen heroes of 9/11 Congressional Gold Medals
program.
Do we have all of the representatives
either in the room or on the phone, April?

Do you

know?
MS. STAFFORD:

Yes.

Actually, we have

our two representatives from the Pentagon, Laurie
Laychak and Kathy Dillaber.
They're about to come in.

They are in the hall.
Megan just excused

herself to invite them in.
And on the phone, can I ask?

For

Pennsylvania, we should have Patrick White and
Carole O'Hare.

Are you with us?

(No audible response.)
MS. STAFFORD:
have John Feil.

From New York, we should

Mr. Feil, are you with us?

(No audible response.)
MS. STAFFORD:

So what I would suggest

is, as we discussed, Mr. Chairman, if we go
through the introduction and through all of the

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design and then maybe at the very end ask our
liaisons to comment if that would work for you.
CHAIRPERSON MARKS:
and move through the report.

Yes.

Let's go ahead

And when you're done

with that, I'll have some comments about our
proceedings.

And then we can hear from the

representatives.
MS. STAFFORD:

Okay.

It is Public Law

112-76 that awards three Congressional Gold Medals
in honor of the men and women who perished as a
result of the terrorist attacks on the United
States on September 11th, 2001.

The legislation

does not specify design elements but simply calls
for designs with suitable emblems, devices, and
inscriptions.
We worked with six liaisons appointed by
Senators Schumer and Gillibrand on the designs
honoring the fallen in New York; four liaisons
appointed by Senator Webb, Senator Warner, and
Congressman Moran on the designs honoring the
fallen at the Pentagon; and five liaisons

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appointed by Senator Casey, Senator Toomey, and
Congressman Shuster on the designs honoring the
fallen of flight 93.
Following the presentation of the
medals, they will be displayed at the National
September 11th Memorial and Museum in New York,
the Pentagon Memorial at the Pentagon, and the
Flight 93 National Memorial in Pennsylvania.
We'll start with the designs for New
York.

And, as we discussed earlier, I'm not going

to read each design description because of the
volume of designs.

Of course, our Committee has

had the design descriptions for some time for them
to consider.

I will pause at any design that has

been identified by any of our stakeholders as a
preference.

I will read that design description.

Should there be any designs that the Committee
wishes me to go back and read the descriptions
for, I'd be happy to do that.
Okay.

So, starting with the obverse

designs for New York, obverse 1, 1A, 2, 3, 4, 5,

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6, 6A.

6A was one of our liaisons' preferences.

I will read the design description, "Here an eagle
flies above twisted fragments that call to mind
the aftermath of 9/11.

The fragments are a more

abstract representation of the events that tore at
the fabric of America.

The eagle represents the

American spirit who bore witness to the event but
also represents remembrance, hope, and the resolve
to rise above any attack on America."
Obverse 7, obverse 8.

Obverse 8 is a

preference by our stakeholder, our liaisons.

And

it was also the Commission of Fine Arts'
recommendation.

Here the design description is

"Abstract lines flowing downward symbolize loss
while the lines moving upward represent rising
above, hope, and deliverance from that loss.

This

configuration also suggests the Twin Towers.

The

numbers 93, 77, 175, and 11 represent the 4 planes
involved in the tragic events of 9/11 and are
positioned as if on a clock, representing the
times of the crashes.

The words 'ALWAYS REMEMBER'

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are set upon a stone wall similar to the wall that
bears the names of the victims at the memorial."
I should note for the Committee that
when the Commission of Fine Arts recommended this
design, they asked that the "ALWAYS REMEMBER," the
"REMEMBER" be made a little more legible.
Design obverse 9.

Sorry.

8A, yes, and

9, also a preference of one of our liaisons.
won't read the design description, however.

I
It's

very similar to that of 8.
MR. JANSEN:

Is 8A or 9 the preference?

MS. STAFFORD:

Obverse 8 was the

preference of both our liaisons as well as the
Commission of Fine Arts.

And obverse 9 was also a

stakeholder preference, a liaisons preference.
MR. JANSEN:
MS. STAFFORD:

Thank you.
Moving on, obverse 10,

another preference identified by our liaisons.
"Here abstract lines flowing downward symbolize
the loss and are evocative of the falling water of
memorial pools.

The inscription 'ALWAYS REMEMBER'

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is ensconced upon a stone wall, similar to the
wall that bears the names of those lost."
Obverse 10A, 10B, 11.
preference of our liaison.

Obverse 12, a

"This design shows

towers of light representing the Twin Towers
reflected in a body of water similar to the water
element in the 9/11 memorial.

A single candle and

a small bouquet signify a sacred memorial at the
site.

The American flag flies overhead in united

and patriotic wave."
Obverse 13.
for New York.

That concludes the obverses

I'll move on to the reverse

designs.
Reverse 1.
liaisons.

This is a preference by our

And the description for this is "This

image represents the renaissance of present-day
lower Manhattan and the hope for a future America,
where freedom and liberty still thrive.

It is a

stylized view of the 9/11 memorial in the gleaming
new Freedom Tower in the background with a more
organic depiction of the survivor tree, which is a

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symbol of strength and endurance," which is on the
right in the design here.

"The most inspirational

image perhaps is that of the crowd of people who
share in our nation's loss.

To this day, throngs

of visitors come to the site each day to pay
respects to the fallen heroes of 9/11."
Obverse 1A, also a preference by our
liaison.

Sorry.

Reverse.

preference by our liaison.
description applies.
reverse 12, 12A.
liaison.

Reverse 1A also a
The same design

Reverse 2, 3, 4, 5, 6, 7,

This is a preference by our

"This design features the callery pear

tree, a simple reminder of hope and rebirth, also
known as the survivor tree on site."
Reverse 13, this is a preference of our
liaison and was also recommended by the Commission
of Fine Arts.

"This design features a single rose

protruding from an edge at the top and echo of the
memorial in New York, where a white rose is placed
through the name of each victim on his or her
birthday.

The inscription reads, 'TIME CANNOT

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ERASE THE MEMORY OF 2753 INNOCENT PEOPLE FROM MORE
THAN 90 COUNTRIES, LOST AT THE WORLD TRADE CENTER
IN THE ATTACKS THAT SHOOK THE WORLD ON SEPTEMBER
11, 2001.

MAY THEIR MEMORY INSPIRE AN END TO

INTOLERANCE.'

The design also features a bald

eagle standing sentinel and clasping branches of
laurel, signifying an eternal honoring of those
who perished in the tragedies.
Reverse 14, 15.

And that concludes the

obverse and reverse candidate designs for New
York.

Can I go back to see if our liaisons have

had an opportunity to join us?

From New York,

John Feil, are you with us?
(No audible response.)
MS. STAFFORD:

Monica Iken from New

York, are you with us?
(No audible response.)
MS. STAFFORD:
the Pentagon.

Okay.

Obverse designs.

We will go on to
Obverse 1.

Obverse 1A, this is a preference by our liaison.
"An eagle flies above twisted fragments that call

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to mind the aftermath of September 11th.

The

fragments are a more abstract representation of
the events that tore at the fabric of America.
Here the eagle represents the American spirit who
bore witness to the event but also symbolizes
remembrance, hope, and the resolve to rise above
any attack on America."
Obverse 2, another preference by our
liaison.

"An eagle, the symbol of our nation,

flies in front of a flag reminiscent of the flag
hung on the wall of the Pentagon from September
12th to October 11th, 2001."
Obverse 3, another preference by our
liaisons.

"This design features a waving flag in

the background with the phrased 'SHARED MEMORY'
inscribed, along with the date and the number of
lives lost.

A small image of the Pentagon is

featured under the inscription.

Memories of the

tragic day are shared by those who are victims and
lived; the relatives of those who did not; the
first responders, who fought the flames and pulled

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victims from the burning building; and those who
could only watch from afar."
Obverse 4, 5, 5A, 5B.

Obverse 5B is a

preference by our liaisons, "One eighty-four rays
surround the perimeter of the design, representing
the 184 lives lost that day.

The point of impact

by the plane is shown in the Pentagon.

The center

star represents the nation's unity after these
events and ties into the 13 stripes of the flag,
which hangs vertically from the eagle, the eagle's
wings.

The eagle, the symbol of the nation, bows

its head in mourning while its wings are spread in
protective covering above the Pentagon."
Obverse 6.

Obverse 7, another

preference by our liaison.

"This design features

a display of stars, representing all 184 lives
lost at the Pentagon.

An eagle stands guard over

the rebuilt Pentagon façade.

And a single rose

represents the unity of the nation."
Obverse 8, another preference.

"This

design bears an image of Lady Liberty enclosed

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within the shape of a pentagon with her head bowed
in sorrow, her arms outstretched.

The stars

represent the fallen inside the Pentagon.

Those

on flight 77 are represented in the paired
reverse," which is Virginia reverse 07 we'll be
seeing.

"Roman numerals mark the exact date and

time of the attack."
Obverse 9.

This is a preference by our

liaison as well as the recommendation of the
Commission of Fine Arts.

"This design shows the

rebuilt façade of the Pentagon where flight 77
crashed.

The angle of the view is the actual

angle of the flight path.

A single candle and a

small bouquet signify a sacred memorial at the
site.

The American flag flies overhead in a

united and patriotic wave."
Moving on to reverse designs, reverse 1.
This is a preference of our liaison.

"The artist

states that in the wake of 9/11, we resolved to
keep our trust and belief in freedom and to renew
our values as Americans and as individuals and go

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forward.

The laurel wreath represents victory.

And the Statue of Liberty's torch represents
freedom set against the Pentagon flag."
Reverse 2, another preference.

"This

design features an eagle against the laurel
wreath.

The phrase 'UNITED WE STAND' represents

the unity felt by all Americans following the
events of 9/11.

The laurel wreath represents

valor and victory.

And the eagle is our nation's

symbol."
Reverse 3, 4, 5, 6, a preference of our
liaison.

"A memorial wreath is seen against the

backdrop of the Pentagon wall.

The inside of the

wreath represents the void in the Pentagon that
was left after the tragedy.

A single candle

lights the void in remembrance of the lives lost.
The number 184 represents the number of lives
lost.

An eagle stands guard over the sacred

scene."
Reverse 7, another preference.

"Here

Lady Liberty refreshes the tree of liberty from a

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pitcher bearing the image of an eagle.

The tree

is a crepe myrtle, the same species planted at the
Pentagon memorial site.

The outer perimeter of

this design also" -REPORTER:

Could we go off the record?

MS. STAFFORD:

-- "including six stars

and five bearing heart designs."
(Off the record.)
(On the record.)
CHAIRPERSON MARKS:
meeting back to order.

I'm calling the

I've been told that our

technical issues are resolved.

However, before we

move forward, we need to repeat some of the
material for the record.

I've got a couple of

members still out of the room.

And I'm going to

hope that they're back by the time we're done with
the repeat.

So, with that --

REPORTER:

And I apologize.

CHAIRPERSON MARKS:

It's okay.

With

that, I'm going to recognize April for the
repeated information.

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MS. STAFFORD:

Thank you.

We need to go back to the Pentagon
Reverse 7.

This is a preference of our

stakeholder, of our liaison.

Here the design --

let me pause while we get there.
(Pause.)
MS. STAFFORD:

While we're working on

pulling that design up, I will share with the
Committee I talked with our liaisons from the
Pentagon.

And on one of their preferences, which

we will be looking at here again, reverse 8, they
had some suggested wording changes.

So, if it's

okay, I would like to share that with the
Committee at that time.
CHAIRPERSON MARKS:
MS. STAFFORD:

Okay.

All right.

So I'm going

to go ahead and read the description and let the
design catch up.

So we are on the Pentagon

reverse 7, again a preference of our liaison.
this design, Lady Liberty refreshes the tree of
liberty from a pitcher bearing the image of an

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eagle.

The tree is a crepe myrtle, the same

species planted at the Pentagon memorial site.
The outer perimeter of this design also bears a
radial array of 59 stripes, one for each of the
victims aboard flight 77, including 6 that feature
a star for each of the 6 crew members, and 5
bearing heart designs for the 5 children who
perished."
Reverse 8, a preference of our liaison
as well as the recommendation by the Commission of
Fine Arts.

"This design features 184 stars on a

raised border around the edge of the design, one
star for each of the victims of the tragedy.

The

inscription as it's currently designed reads 'WE
HONOR THE PASSENGERS AND CREW OF FLIGHT 77, THOSE
IN THE MILITARY WHO SACRIFICE FOR OUR FREEDOM, AND
ALL WHO PERISHED AT THE PENTAGON ON SEPTEMBER 11,
2001.

WE WILL NEVER FORGET.'

The design also

features a bald eagle standing sentinel and
clasping branches of laurel, signifying an eternal
honoring of those who perished in the tragedy."

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Our liaisons have requested us to
consider if this design moves forward a change in
the inscription so that it reads "WE HONOR THOSE
ON FLIGHT 77 AND THOSE IN THE PENTAGON WHO
PERISHED ON SEPTEMBER 11, 2001.

WE WILL NEVER

FORGET THEIR SACRIFICE AS WE UNITE IN MEMORY."
Reverse 9, "The eagle, symbolizing
America's indomitable spirit, serves as sentinel
over the Pentagon."

This again is a preference of

our liaison.
Reverse 10 and 10A.

That concludes the

obverse and reverse candidate designs for the
Pentagon.

I'd like to introduce our liaisons that

we have been working with:
Kathy Dillaber.

Laurie Laychak and

Thank you so much for being with

us.
(Applause.)
MS. STAFFORD:

May I ask you to make a

few comments?
MS. LAYCHAK:

Well, it's awkward

speaking with people --

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(Laughter.)
MS. LAYCHAK:

But let me just truly

thank you for letting us be a part of this
process.

It means so much to us because,

obviously, we are very passionate about this and
about representing the families the best we can.
We did submit some comments during the
process for consideration.
noted some of those.

And I think you have

Should I comment on any of

those now or during?
MS. STAFFORD:
MS. LAYCHAK:

Sure.
I think some of them that

we feel -- even though we mentioned several as
some preferences, there were some that we felt a
little more strongly about than others.

Those

would be the reverse number 1; reverse number 2;
the obverse 5B; and obverse 8, which was one of
those that were preferred.

And also the

Commission of Fine Arts agreed.
But we feel very strongly about the word
consideration for the word adjustment.

We felt

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the way it is submitted right now, the wording
mentions the passengers and the crew of flight 77
and those military who sacrifice for our freedom
and all who perished at the Pentagon.

We felt

that that almost placed a little bit of a
hierarchy.

And it made those of us, which is -- a

majority of those that were lost were civilians.
It made us feel that they were placed maybe third.
And we wanted to try to equalize all the losses
the best we could.

And that's why we suggested

the alternate wording that April described to you.
And then the other one that was a
preferred design of ours was the reverse 09.

And

so we just wanted to put that to you all for
consideration.
Thank you.
MS. STAFFORD:

Thank you very much.

Kathy?
MS. DILLABER:
were family members.

Both myself and Laurie

I'm also a survivor.

spoken with many of the family members and

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survivors from the Pentagon.
how much this means.

I cannot tell you

We're very grateful for all

of the time and effort that is being put into this
and grateful for the work that you do.
Thank you.
(Applause.)
CHAIRPERSON MARKS:

April, as we move

through your report, I would like to handle each
of the representatives of each of the sites the
same way.

As you get to the point in the review

as you introduce them, let's have them make their
remarks, too, so we don't have to double back on
that.
MS. STAFFORD:

Okay.

The only exception

to that will be our New York liaisons, who weren't
with us when we read out those designs.
CHAIRPERSON MARKS:
MS. STAFFORD:

Sure.

So perhaps when we get

through the Pennsylvania designs, we can go back,
circle around to them.
So next we will be looking at the

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candidate designs for the Pennsylvania site,
flight 93.

We'll start with the obverse designs.

Obverse 1, 1A, 2, 3, 4, 5, 6, 7, 8, 10, 10A, 10B,
12.

That concludes the candidate designs for

obverse.

You'll notice there were no preferences.

As we indicated earlier, the preferences were from
the reverse candidate designs, which we'll go to
now.
Reverse 1; 2; 3; 4; 5; 5A; 5B, a
preference by our liaison as well as the
recommendation by the CFA.

"Here the design

features the hemlock groves behind the memorial
boulder at the flight 93 memorial, a simple
reminder of loss and healing."

The inscriptions

on design 5B were added at the liaisons' request,
but I will note that since "SEPTEMBER 11TH, 2001"
has been requested to be removed.
Reverse 6.
MS. WASTWEEK:

I'm sorry, April.

MS. STAFFORD:

Yes?

MS. WASTWEEK:

Repeat that last.

What

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was removed?
MS. STAFFORD:

The part of the

inscription, "SEPTEMBER 11TH, 2001."
asked for that to be removed.

They have

And, actually, the

CFA concurred with that recommendation.
MS. WASTWEEK:

Was there a reason?

MS. STAFFORD:

It happens to be on the

other side of the -MS. WASTWEEK:

Okay.

Thank you.

MS. STAFFORD:

Reverse 6; 7; 7A; reverse

8; reverse 9; reverse 10, another preference by
our liaison as well as a recommendation of the
CFA.

"This design features 40 stars on the raised

border around the edge of the design, one star for
each victim.

The inscription reads 'WE HONOR THE

PASSENGERS AND CREW OF FLIGHT 93 WHO PERISHED IN
THE PENNSYLVANIA FIELD ON SEPTEMBER 11, 2001.
THEIR COURAGEOUS ACTION WILL BE REMEMBERED
FOREVER.'

The design also features a bald eagle

standing sentinel and clasping branches of laurel,
signifying eternal honoring of those who

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perished."

It might be also that the liaison will

request an adjustment of this wording.

We'll ask

them to clarify that when we speak with them.
Reverse 11, reverse 12, and reverse 13.
That concludes the obverses and reverses for
Pennsylvania.

I'll go to our liaisons, who should

be on the phone.

Patrick White and Carole O'Hare,

are you with us?
MR. WHITE:

Good afternoon.

This is

Patrick White.

Thank you very much for your

service today.

I am our vice president.

our secretary.

Both she and I as well as our

Carol is

president, Gordon Felt; and another family member,
Sandy Felt, who I do not believe were able to be
on the call today, all appreciate your efforts as
well as the CFA and want to particular make note
of Megan Sullivan's assistance in this process.
It has been invaluable.
April had indicated earlier with respect
to our O-5B the request that the liaisons remove
the "SEPTEMBER 11TH, 2001" in the lower left-hand

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corner of the design.

As you will note, in

reverse 10, the date of the event is on the R-10
face as well.

And we thought that the "ACT OF

CONGRESS" would be more singularly appropriate
stated solely across the bottom of that face
design.
There is no question as to R-10, then.
The text change was prompted by a desire to try
and design the words in a fashion that would give
greater prominence to certain aspects of the
phrases.

It was adjusted as we had originally

requested and as the CFA had recommended
preference for based upon as well a request to
have the size of the Capitol building increased.
In an effort to accommodate both requests, the
text design was altered slightly due to the fact
that the size of the Capitol had been increased.
What we would prefer is that the text be as we had
originally requested, even if that means we
sacrifice the larger size of the Capitol
structure, feeling that the words and their

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prominence and placement ought to take precedence
over the dimensions and scale of the Capitol
building, which we feel is evident in each of the
two designs, each of the two sides of the designs.
Is there any question about that?
(No audible response.)
MR. WHITE:

I would just indicate that

Ms. Sullivan has a copy of the preferred text
alignment that we believe better centers and shows
the phrases that are the ones we would like to see
demonstrated.
MS. SULLIVAN:

I actually don't have

that with me, unfortunately.

Would you mind just

reading off the way you want the words?
MR. WHITE:
identical.

Sure.

The text is

The only difference as to the revised

R-10 is that on the line where the word "THEIR"
appears, you would also be able to add the text
"COURAGEOUS ACTION."

The next line will be "WILL

BE REMEMBERED" as it appears, the difference being
that "FOREVER." can then be centered directly

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above Columbia on top of the Capitol.

The balance

of the text above remains the same.
MS. SULLIVAN:
MR. WHITE:

Thank you.

In other words, everything

from the "HONOR" through "SEPTEMBER 11, 2001" is
as it appears on R-10 that the Committee has.

The

next line would read "THEIR COURAGEOUS ACTION."
The next line would be as shown on R-10, "WILL BE
REMEMBERED."

And then the concluding line would

have "FOREVER." centered above the Capitol
building.
MS. SULLIVAN:

Thank you.

MS. STAFFORD:

Thank you.

MR. WHITE:

Thank you all very much.

Carole, is there anything?
MS. O'HARE:

Yes.

My mother was on flight 93.

I'm Carole O'Hare.
And I just want to

thank everyone for their hard work on this
project.

And we appreciate our participating in

it as well.
There were just a few things that I'd

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like to bring up.

There were a few designs, both

on the reverse and the obverse side, that include
symbols of airplances.

And I know it might be too

late to remove them, but we would like to request
that they be taken from consideration.

It's a

sensitivity for the families of those particular
designs.

They happen to be R-03, O-01, and O-1A.
And one other, just a little -- I heard

some comments from families about on the obverse
side, O-5, which then depicts the temporary
memorial that was in place before the permanent
memorial was built.

Also, we would like to see if

that could possibly be not considered as it
doesn't seem, in our opinion anyway, to rise to
the event, I think to be placed on a Gold Medal,
to be very blunt about it.

But, you know, we do

have a permanent memorial now.

And that would be

depicted by the O-5B on the reverse side, where
the rock is the symbol of the strength and it
marks the place where the plane actually crashed
and where the unidentified remains are currently

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buried.
So I would appreciate that if that
request could be fulfilled, then again appreciate
having us participate.
MS. STAFFORD:

Thank you.
Okay.

And that concludes

the obverse and the reverse candidate designs for
all three Congressional Gold Medals.
I'll check on one final time to see if
our liaisons from New York have had an opportunity
to join us.

Do we have John Feil or Monica Iken

with us?
(No audible response.)
MS. STAFFORD:

Okay.

Back to you, Mr.

Chairman.
CHAIRPERSON MARKS:

Okay.

Thank you.

Before we get into our Committee
process, I want to do a few words to the
procedures that we go through here and help
everyone who is listening to what we're doing
understand it.

We've had folks in the past that

have listened in and went away not understanding

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what had happened.

And I certainly don't want

that to happen here.
So what you have here is a group of
individuals who all come with different
perspectives, different walks of life, all of us
having a passion for numismatics and coins.

And

some of us come with extensive backgrounds in art.
Others who don't have been on the Committee long
enough that they understand how to interpret art
and so forth.
So what you hear here will be probably
on both sides of the ledger.

You will hear

comments that are very supportive and very
positive about any given design.

Then you may

also hear honest comments from individuals who
feel that maybe, for some reason, something isn't
right about a design, won't produce something that
would rise to the level of honor that we want for
this program.

And so none of those comments

should be taken as insultive, we hope, but
understanding that in taking our role seriously --

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and that is to recommend to the Secretary of
Treasury the best our nation can do for this
program, and especially this program, which grips
at our hearts so much.

So I want you to know that

we come to this with passion and commitment to do
the best job we can.

And sometimes that means we

need to be honest in what we see here based on the
experiences that we bring in this whole realm of
medalic art.

After all, that is why most of us

are on this Committee.

So I just want there to be

an understanding about that.
We have limited time to look at all of
this.

And I hate to say that, but we do.

got 84 designs to go through.
to be done by 3:30.

We have

And we're supposed

So it is the practice of our

Committee, not just for this program but other
programs in the past, when we're presented with so
many designs that it's practically impossible to
really do service to addressing all of them that
we'll do an initial culling -- it's not calling
but culling, C-U-L-L -- where we will quickly move

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through all of the designs.

And if there is even

one member who wishes to continue with that design
in the process, they will indicate so, and it
remains in the process.
There will be some designs where there
is no support.

And, therefore, there really is no

purpose in us addressing that particular design.
And, really, we're going to need to have a
significant number that fall out like that so that
the valuable time we have can be spent focusing on
those designs that are the most critical and ones
that are most likely to be selected for these
medals.

So I just wanted to give some time to

that and hope that everyone understands now what
it is that we're doing.
So, with that, we're going to go through
that culling process.

And I'll just make some

remarks to the Committee here.

And that is that

there have been some instances in the past where
we have had numerous designs for a particular
program and we go through the culling and half or

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more remain in the consideration.

I want to ask

you to be selective today, that if you have a
sincere desire to speak to something, that you
indeed indicate that so that we can keep it in,
but if not, let's not just not put designs in
because you might have a quick comment to make
about it.

Then others will feel like they need to

comment on that.

We really need to focus our time

on what is important here today.

So I'm going to

ask us to be exclusionary, if you will, to make
sure that we get down to the ones that need our
attention.

I hope that's understood.

MR. MORAN:

Mr. Chairman, could I

interrupt for just a second?
CHAIRPERSON MARKS:
MR. MORAN:

Yes?

The people who have gone

before us when we are doing this have tended to
settle on a common reverse with inscriptions on
it.

And if this Committee has an inclination to

go in that direction, it will simplify our review
process greatly if we go on and address that

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possibility and get it out of the way first.
Otherwise, then we go through, like you do, each
one.
CHAIRPERSON MARKS:

You know, Mike, I

don't know if that's where the Committee wants to
go.

And I don't want to invest the time into it.
MR. MORAN:

I just want to see --

CHAIRPERSON MARKS:
MR. MORAN:

Yes.

-- a show of hands.

I don't

want to go there, but I do see that -CHAIRPERSON MARKS:

Okay.

Well, this is

the sort of thing we need to be careful about or
we're going to spoil our time here and we're not
going to be able to focus.
to do that here?

So is there a motion

I think that's the best way to

dispose of this.
MR. MORAN:

I won't make one.

I just

wanted to -CHAIRPERSON MARKS:

Then I guess we've

resolved it.
MR. MORAN:

Yes.

Fine.

Move on.

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CHAIRPERSON MARKS:

Thank you.

I

appreciate that.
So, with that, tell me, have I missed
anything?

I want to be very careful.

think we're ready to go.

I

So we're going to go

through our culling process.

And I'm going to ask

the operator of the slides to start.
the New York images.

Okay.

Start with

And, on my voice, if we can

just kind of move through these?

I will ask in

each case if this is something you want to look
at.

If I hear nothing, we will be setting it

aside.

If we hear even one voice, we'll keep it

in.
So number 1.
(Chorus of "Yes.")
CHAIRPERSON MARKS:

Number 2 --

(Chorus of "Yes.")
CHAIRPERSON MARKS:

-- or, actually, I'm

sorry -- number 1A?
(Chorus of "Yes.")
CHAIRPERSON MARKS:

Two?

Did I hear a

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yes on 2?
(No audible response.)
CHAIRPERSON MARKS:
aside.

We're setting 2

Three?
(No audible response.)
CHAIRPERSON MARKS:

Setting 3 aside.

Four?
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Yes.

Five?

(Chorus of "Yes.")
CHAIRPERSON MARKS:

Six?

(No audible response.)
CHAIRPERSON MARKS:
MS. WASTWEEK:

That's a preference.

CHAIRPERSON MARKS:
MS. WASTWEEK:

Setting that aside.
Pardon?

That's a preference, I

thought.
CHAIRPERSON MARKS:
MS. WASTWEEK:

6A is.

Oh, excuse me.

CHAIRPERSON MARKS:

Okay.

I'm assuming

6A is in --

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(Chorus of "Yes.")
CHAIRPERSON MARKS:
preference.

-- as a stakeholder

Seven?

(No audible response.)
CHAIRPERSON MARKS:

Setting that aside.

Eight?
(Chorus of "Yes.")
CHAIRPERSON MARKS:

8A?

(No audible response.)
CHAIRPERSON MARKS:

Set that one aside.

Nine?
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Yes.

Ten?

UNIDENTIFIED SPEAKER:

Yes.

It's a

preference.
CHAIRPERSON MARKS:

Ten?

UNIDENTIFIED SPEAKER:

Is it your

preference?
UNIDENTIFIED SPEAKER:
a preference.

No, no, no.

So we should consider it.

UNIDENTIFIED SPEAKER:

Nine is a

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preference.
UNIDENTIFIED SPEAKER:

Nine and 10 were

a preference.
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

And 10?

Nine is a

preference?
UNIDENTIFIED SPEAKER:
preference.

Nine is a

So is 10.

CHAIRPERSON MARKS:

Okay.

UNIDENTIFIED SPEAKER:

Ten is a

preference.
MS. STAFFORD:

Eight, 9, and 10 are all

preferences.
CHAIRPERSON MARKS:

Okay.

Thank you for

the clarification.
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

And 6A.

10A?

(No audible response.)
CHAIRPERSON MARKS:

Set aside.

10B?

(No audible response.)
CHAIRPERSON MARKS:

Setting that one

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aside.

Eleven?
(No audible response.)
CHAIRPERSON MARKS:

consideration there.

No further

Twelve?

UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:
preference.

Thirteen?

Preference.

Yes.

That's a

I would like to speak to

13.
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:
to the reverse for New York.
that as a preference.

I would as well.

So we're moving on
Number 1, I have

We'll keep that one in.

1A?
(Chorus of "Yes.")
CHAIRPERSON MARKS:

Yes?

UNIDENTIFIED SPEAKER:

It is a

preference.
CHAIRPERSON MARKS:

1A is?

UNIDENTIFIED SPEAKER:

One is a

preference.
UNIDENTIFIED SPEAKER:

One and 1A.

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MS. STAFFORD:

One and 1A are both

preferences.
CHAIRPERSON MARKS:

Okay.

Two?

(No audible response.)
CHAIRPERSON MARKS:

That's out.

UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Three?

Yes.

Four?

(No audible response.)
CHAIRPERSON MARKS:

That one's out.

Five?
(No audible response.)
CHAIRPERSON MARKS:

Setting that aside.

Six?
(No audible response.)
CHAIRPERSON MARKS:
aside also.

Setting that one

Seven?

(No audible response.)
CHAIRPERSON MARKS:
that one.

Twelve?
CHAIRPERSON MARKS:

one.

We'll not consider
Not looking at that

12A I have as a preference.

Thirteen?

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UNIDENTIFIED SPEAKER:

Yes.

UNIDENTIFIED SPEAKER:

It's a

preference.
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Preference.

Fourteen?

(No audible response.)
CHAIRPERSON MARKS:
aside.

Setting that one

Fifteen?
(Chorus of "Yes.")
CHAIRPERSON MARKS:

Virginia obverses.

Moving on to

Number 1?

(No audible response.)
CHAIRPERSON MARKS:

Setting that aside.

Number 1A?
UNIDENTIFIED SPEAKER:

Yes.

That's a

preference.
CHAIRPERSON MARKS:

Yes?

UNIDENTIFIED SPEAKER:

Two?

Isn't that a

preference?
UNIDENTIFIED SPEAKER:
preference.

I thought 2 was a

Yes.

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MS. STAFFORD:

1A and 2 are both

preferences.
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

And so is 3.

April, if you could

help me out when we hit a preference?
MS. STAFFORD:

Absolutely, I will.

CHAIRPERSON MARKS:
some of them.

I mean --

I evidently missed

So if would just voice out --

MS. STAFFORD:

Absolutely.

CHAIRPERSON MARKS:
MS. STAFFORD:

I will.

CHAIRPERSON MARKS:
MS. STAFFORD:

-- when I get there?
Number 3?

Preference.

CHAIRPERSON MARKS:

Number 4?

(No audible response.)
CHAIRPERSON MARKS:

Setting that aside.

Five?
(No audible response.)
CHAIRPERSON MARKS:

Set that one aside.

5A?
(No audible response.)

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CHAIRPERSON MARKS:
is a preference.

Setting aside.

5B

Six?

(No audible response.)
CHAIRPERSON MARKS:
have 7 as a preference.
Nine is a preference.

Won't consider 6.

I

Eight is a preference.
Eleven?

(No audible response.)
CHAIRPERSON MARKS:
aside.

We'll set that one

Moving on to Virginia reverse, I have that

one, number 1, as a preference.
UNIDENTIFIED SPEAKER:

Hang on a second.

(Pause.)
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:
MS. STAFFORD:

Okay.

Yes.

Number 2?

Preference.

CHAIRPERSON MARKS:

Number 3?

(No audible response.)
CHAIRPERSON MARKS:
that one.

We won't consider

Four?
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Yes.

We're passing over

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number 4.
MR. JANSEN:

I heard a yes.

CHAIRPERSON MARKS:
My mistake.

Oh.

Oh, I'm sorry.

The Chairman is deaf sometimes.

Number 5?
(No audible response.)
CHAIRPERSON MARKS:
we'll pass on that one.

Hearing no comments,

Number 6 I have as a

preference, 7 and 8 and 9.
MS. SULLIVAN:

Yes.

CHAIRPERSON MARKS:

Ten?

(No audible response.)
CHAIRPERSON MARKS:

Setting that aside.

10A?
(No audible response.)
CHAIRPERSON MARKS:

We'll set that one

aside also.
Moving on to Pennsylvania obverses.
Number 1?
(No audible response.)
CHAIRPERSON MARKS:

We'll set that

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aside.

1A?
(No audible response.)
CHAIRPERSON MARKS:

consideration on that one.

No further
Two?

(No audible response.)
CHAIRPERSON MARKS:
one.

We'll pass on that

Three?
(No audible response.)
CHAIRPERSON MARKS:

one also.

We'll pass on that

Four?
(No audible response.)
CHAIRPERSON MARKS:

4.

Setting aside number

Five?
(No audible response.)
CHAIRPERSON MARKS:

aside also.

Setting that one

Six?

(Chorus of "Yes.")
CHAIRPERSON MARKS:

Seven?

UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Yes.

Eight?

Anyone for

8?

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(No audible response.)
CHAIRPERSON MARKS:

Set that aside.

Ten?
(No audible response.)
CHAIRPERSON MARKS:

Setting aside.

10A?

(No audible response.)
CHAIRPERSON MARKS:
10A.

We will not consider

10B?
(No audible response.)
CHAIRPERSON MARKS:

10B.

We will not consider

Twelve?
(No audible response.)
CHAIRPERSON MARKS:

Set 12 aside.

Takes us to Pennsylvania reverses.
Number 1?
(No audible response.)
CHAIRPERSON MARKS:
aside.

Setting that one

Two?
(No audible response.)
CHAIRPERSON MARKS:

aside also.

Setting that one

Three?

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(No audible response.)
CHAIRPERSON MARKS:
consideration for 3.

No further

Four?

(No audible response.)
CHAIRPERSON MARKS:
number 4.

It's the same for

Moving on to number 5?
MR. SCARINCI:

Yes to 5 because we're

going to do 5A as well.
UNIDENTIFIED SPEAKER:

No.

(Chorus of "5B.")
UNIDENTIFIED SPEAKER:

So we're doing

5B?
CHAIRPERSON MARKS:

Do you want all of

the 5's in?
MR. JANSEN:

All 5's should be in.

I'll

go yea on all 5's.
CHAIRPERSON MARKS:
Number 6?

I'm sorry.

that's in.

Really?

Okay, guys.

5B was a preference.

So

Six?

(No audible response.)
CHAIRPERSON MARKS:

Set that one aside.

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Seven?

I'm interested in 7 personally.

7A?

(No audible response.)
CHAIRPERSON MARKS:
aside.

Eight?

We'll set that one

I'd like to talk about 8, and I'd

also like to talk about 9.
MS. STEVENS-SOLLMAN:

Yes.

UNIDENTIFIED SPEAKER:

Yes.

We should

do that.
CHAIRPERSON MARKS:

Ten is a preference.

So we'll look at that one again.

Eleven?

(No audible response.)
CHAIRPERSON MARKS:

Setting 11 aside.

And 12?
(No audible response.)
CHAIRPERSON MARKS:
12.

And then 13?

We will not consider

Interest in 13?

(No audible response.)
CHAIRPERSON MARKS:
aside.

We'll set that one

And that takes us full circle through.

-MR. MORAN:

Gary, I hate to be a stick

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in the mud, but if you look at reverse 9
Pennsylvania, we really should also look at O-7,
same style.
CHAIRPERSON MARKS:

Where are you?

Pennsylvania?
MR. MORAN:

Yes.

CHAIRPERSON MARKS:
MR. MORAN:

No.

Reverse?

Obverse.

CHAIRPERSON MARKS:

Pennsylvania obverse

7?
MR. MORAN:

Yes.

It's in the same file

as a pairing.
CHAIRPERSON MARKS:

Okay.

were going to look at both 6 and 7.

I had that we
Is that

wrong?
MR. URAM:

Yes.

It's 6 and 7 in

reserve.
MR. MORAN:

I'm sorry.

I misunderstood.

I thought it was just 6.
MR. URAM:

Six and 7 are both reserved.

CHAIRPERSON MARKS:

Okay.

So do I need

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to go through this for the record on what we're
still looking at?
MR. URAM:

No.

MS. STEVENS-SOLLMAN:
CHAIRPERSON MARKS:
know what we're looking at.

No
No?

I think we all

Okay.

I'll just note

for the record that the time right now is 2:23.
We have an hour and seven minutes to move through
this.
MR. JANSEN:

Mr. Chairman?

CHAIRPERSON MARKS:
MR. JANSEN:

Yes?

For the purposes of

tabulation, can I ask that we vote 1, 2, 3, and
not alternate once because I can tabulate 1 while
2 is being discussed and 2 while 3 is being
discussed?
CHAIRPERSON MARKS:
suggestion.

Excellent idea.

MS. STEVENS-SOLLMAN:

Excellent
Okay.

So --

I don't think

that's going to work.
CHAIRPERSON MARKS:

Yes.

That's not

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going to work.

What that requires is three passes

around.
MR. JANSEN:

No problem.

I'll do it

either way.
CHAIRPERSON MARKS:

And that's going to

be some work on -MR. JANSEN:

I can make either way work.

CHAIRPERSON MARKS:
for that error.

I apologize

I think we have a good idea.

MR. JANSEN:

Just a thought.

CHAIRPERSON MARKS:
have the time.

Yes.

Right, right.

proceed at this point.

I'm not certain we
So we're going to

And I'm hopeful.

I'm

hopeful that we're going to finish this in time.
We have some time where we can ask for some
follow-ups from our stakeholder groups and folks
who are here, either on the phone or in the room
with us representing these, the three sites.

So I

think we're good to go.
With that, just so all the members know,
I'm going to recognize Heidi first at her request.

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And then I'm going to cycle down to Michael
Bugeja.

And we're going to move to his right all

the way down the line.

If you're not ready when

your turn comes -- and, Mary, if you want to
listen to everyone, you can pass.
MS. LANNIN:

No.

CHAIRPERSON MARKS:

And we'll come back

to you.
MS. LANNIN:

I'll weigh in.

UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:
go ahead and get started.
MS. WASTWEEK:

Be bold.

But we're going to

So Heidi?

Thank you, Gary.

Before we get bogged down in the details
of all of these designs, I want to pull back for
just a minute.

I'm looking at the wording of the

law of these medals.
heroes.

They are to honor the fallen

Let's keep that wording in mind:

fallen heroes.

the

A lot of these designs are geared

more toward commemorating the events of 9/11.
already have a 9/11 commemorative that we have

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done.

This particular project is specifically --

and I'm reading the words right here in the law -those who responded to the attacks, those who were
involved, those who sacrificed their lives, those
whom we don't even know what they did because they
weren't seen.

So, rather than focusing on the

rebirth and the rebuilding afterwards, I think
that the intent of this law is to really focus on
those people, even if they didn't consider
themselves heroes.
And when we first talked about this at
our previous meeting and our preliminary, we
talked about how those people were maybe a little
uncomfortable with considering themselves heroes,
but we certainly consider them heroes.

And when

we talk about heroes, we're really talking about
the human aspect of what happened.

And so as I

was reviewing these designs, that's what I kept in
mind.

I focused on which designs really felt the

most human.
Secondly, I looked for connectivity

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between the three because we have a set of
creative energy displayed together.

And we want a

certain harmony, not necessarily repetitiveness.
But keep in mind that we want three that look like
they go together in a visual sense.
There's been some support for those
designs that have a lot of words on them.

And

we're already experiencing debate about what those
words should be.

The fact that we're already

seeing that debate demonstrates exactly why this
Committee has never been in favor of wordy
designs.
We are a relatively small group.
Imagine when this goes out into the public.
You're going to have a million other opinions
about what that wording should be.
This is a very solemn subject.

And I

prefer the quiet designs that let each person
reflect their own experiences on the design,
rather than telling them what to feel.
So, with that said, I'll go through the

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individual designs.

On New York obverses, of all

these designs, there was one in particular that
really struck me in the heart and gave me goose
bumps.

And that is obverse 1A.

The empty space

on the left-hand side really speaks volumes to me.
I love the gesture; the human element; from an
artistic sense, the way this figure appears at the
top in detail but the lower part is not in detail.
His hand crosses the line between the moment and
the aftermath connects not only just -- it's not
just a second in time, not a snapshot but a before
and after.
powerful.

And I think this is extremely
And it represents all of those people

who showed up to help and maybe didn't return.
Design 6A I'd like to talk about.
was some preference for this.
two comments about this.

There

I'd like to make

When I see this, the

overwhelming symbol that I get from this is
brokenness.

And I don't think we're broken.

don't think we're broken at all.

I

But every time I

see this, I just think it looks broken.

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And symbolically the eagle in
numismatics represents a military strength.
represents the country.

It

And it gets away from

what I think is that hero aspect.
And, again, if we choose this -- and
there are three of these designs that are a
matched set.

If we choose one, especially if we

choose two, then we need to choose all three.

So

keep that in mind as you are selecting.
Design number 8.
really strong design.

I think this is also a

There was a comment about

the word "REMEMBER" not showing up enough.

Keep

in mind this is just a black and white design.
When this reaches the sculptural stage and when
it's in metal, those kinds of details will be
resolved.

I like that there's this depth and an

ominous sense to this piece in an abstract and
modern way, in a way that we haven't seen repeated
over and over again.

So I think this is a strong

design.
MR. JANSEN:

Which is the one you're

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referring to?
MS. WASTWEEK:

Number 8.

CHAIRPERSON MARKS:
MR. JANSEN:
MS. WASTWEEK:

Eight, obverse 8.

Thank you.
And that texture, the

lines there, when this is in metal, it is going to
balance the light in a very dramatic way.
I'll speak briefly on 13.

I don't know

if there's going to be a lot of support for this.
I am not in favor of this.

I hate to use this

word.

I think it's too much

I think it's sappy.

into the sentimental realm.

And I hope that this

doesn't get picked personally.
On to the reverses.

Design number 1, I

don't have a particular objection to this design.
And I don't have a preference between 1 and 1A.

I

think they are equal designs.
Design 13, which there is some
preference for that, this is what I was talking
about about the wording aspect.

It just invokes

debate, what orders the word, what words are used,

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should this be taken, should they not be added,
who decides what.

It is a quagmire I'd like to

stay away from.
Design 12A, I like this design.
it is soft and subtle, contemplative.

I think

And it's

one of those designs that lets each of us reflect
our experiences of the day because the people that
see this medal, this isn't ancient history.
all have an experience.
so vividly.

We

We all remember this day

And this is a design that will allow

that kind of contemplation.

So I would support

that.
On to the Pentagon.

Designs 2 and 3 I

think are lacking the human element that I am
looking for.

These are more commemoratives of the

day, of the tragedy, rather than honoring the
heroes or people.
5B, I know that this is meant to show
the eagle with his head bowed in a sort of
mourning state, but that's not what our eagle is
about.

Our eagle is supposed to be the pride of

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the country.

So I think it is a contradiction in

symbology of our country's icon.
Design 8.
me.

This one really stood out to

It is a gorgeous design and has that human

element.

The people, the heroes that we're

talking about, they cared about the people next to
them.

They want to help.

They pulled people from

the wreckage and at their own peril.
what I see in her open arms.
of those stars.
them.

And that is

She is embracing all

She wants to help them and love

And I think this speaks very powerfully.

And I would love to see this one chosen.
Reverse number 4.

I'll admit when I

first saw this design, I flipped right by it.
didn't like it.

I didn't get it.

I

But as I looked

over this whole set of designs again and again, I
kept coming back to this.
symbology.
textural.

And I liked the

It's very textile.

It's very

And just having that simple time stamp

there really started to get under my skin and
really made me think about what those people,

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those ordinary people, went through.

And to have

the simple symbol of just the Pentagon, which -we all know what it means, you don't have to
explain it.
it.

You don't have to have any words on

I thought that was really powerful the more I

looked at it.
first.

But I didn't really look at it at

So I hope maybe I'll cause some other

people to look twice at this.
Go back to obverse 1 and 2.
preferences.

These were

But, again, I think these would be

buying commemoratives for the tragedy.
say hero to me.

They don't

I don't see the hero/human

element in those.
MR. JANSEN:

What are you speaking to

here?
MS. WASTWEEK:
MR. JANSEN:
MS. WASTWEEK:

Reverse 1 and 2.
I'm sorry.

Thank you.

Reverse number 7 was

mentioned as a preference.

This, of course,

matches very well with the obverse, and they're
meant to go together.

I could support this design

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very easily.

And it has the human element.

On to Pennsylvania.

Design 6 and 7.

In

this instance, I see the birds representing the
plane.

The stakeholders voiced a strong opinion

that they don't want to see planes represented.
So I think that just could stand in the place from
the plane that we don't want to portray literally.
I could support -- I think I would prefer 7 over
6.

You can see the face of the eagle.
So the reverses, reverse number 5.

I

prefer this one over the preference because of its
simplicity and it not having the words on it.
Again, we get into a debate:

what words, what

should be there, what shouldn't be there.

And

this I think when you don't have the words to rely
on, when you don't have the reading material
there, the viewer takes more time to contemplate
what it is that they're looking at and what it
means.

I would be more in favor of this, then,

than 5B.
I'm going to conclude my comments with

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that.

I am sure there will be a lot of other

opinions around the table.
CHAIRPERSON MARKS:

Thank you.
Thank you, Heidi.

We'll go down to Michael.
DR. BUGEJA:

Thank you, Gary, and thank

everyone involved in this process.
It's a little difficult for me to do
this because you know that I grew up in Lyndhurst.
And across the way from my backyard were the Twin
Towers.

And I was in Ohio at the -- I'm a

journalist.

I spent my time in New York City in

the Daily News Building as a kid.

And I was in

Ohio at the time and actually looking at the news
and saw the plane crashes.

My sister, Lori

Digney, lives in a place where she could see.

So

I called her up in order to help the Ohio kids to
report on it.
report on 9/11.

We were among the first kids to
And she was describing this.

So I wonder if you could just take a
second and think of what your landscape is.
is your landscape?

Is your landscape an Iowa

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cornfield?

Is your landscape suburbia?

And then

think of somebody taking that landscape away from
you.

That is my reality.
I didn't know people who perished, but I

knew many people who were involved either in the
rescue, the police force people, and I can't even
go there.

So I am going to be ask objective as I

can in describing this, but I would like you to
know where I come from and what the situation was
for me.

Remember a landscape removed from you.
There are three types of designs in

here.

One is remembrance.

The other is of loss.

And the third represents my feeling that you do
not do this to us.

All right?

And that is

reflected in some of these designs.
So with that in mind, the first one I
would like to go to is 1A of the New York.

And I

just wanted to mention here I do appreciate this
coming from New York City metropolitan area, but
what I wanted to point out from our earlier
discussions about how do you show depth, look at

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the shoulders of the firefighter.
shoulders.
stairs.

Look at the

And that is giving depth to the

So, in other words, how you use light

actually creates depth.

And I think that is a

very elegant way of a small brushstroke making the
device pop out.

So I wanted to say that.

I would like to go, then, to obverse
number 5.

Coming from this area, that is my

landscape.

That is the Statue of Liberty.

just costs a nickel.
Statue of Liberty.

It

You take the ferry to the
That's my landscape.

And I'm

very partial to it.
I'd like to go to obverse 6A.

This is

the feeling that I said about you do not do this
to us.

This is an eagle in response.

will see the same in the Pentagon.
eagle flying over a disaster.
says, "You do this to us?

And you

This is not an

It's an eagle that

Don't do it again."

And that is a powerful symbol of an eagle.

And,

you know, living out in Iowa, I know eagles.
that is an eagle about to put his talons on a

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prey.

So that's my favorite design right there

for very different reasons than what Heidi said.
I would like to go to obverse number 8.
I really do like this design.

It gives depth.

I

love the positions of the clock, just everything
about it.

The small brushstroke that I would do

would be to remove -- and you see this in text,
"Always remember" or "You will be remembered."
No.

These people are remembered.

And to use the

verb "REMEMBERED," move that up out of the granite
and then, if possible, -- this is a more technical
issue -- to use a higher relief on that rose to
make it come out.

I think that is going to -- it

is quite a powerful design, artistically superior
to many that I have seen.
I do want to go to obverse number 13.
Please do not personify eagles.
All right.
of New York.

Let's go to reverse number 1

This is a very strong -- I mean, I

like the power of -- it's stylistic, yes, but in a
way, that symbolizes strength and power.

I like

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the "LIBERTY ENDURES," rather than "LIBERTY"
"ENDURES" on top of each other that you would find
in O-1A because "LIBERTY ENDURES" creates that
skyline again.
And, actually, if we can go back to
number 1 again, if you could even lower that a
little bit, you're going to re-create a skyline,
which is what I really liked about that.
I'm not going to speak to things that I
don't have much to add to.
reverse number 13.

I'd like to go to

Reverse number 13 is -- you

know, usually in coins, we don't like text, but on
medals, given the historical moment of this with
the eagle, I really like this design.
text-heavy.

I know it's

And I like the rose on top.

Jeanne, who is more of a medalist.

I asked

There is just

something about these words that "MAY THEIR MEMORY
INSPIRE AN END TO INTOLERANCE."
of shook me.
this.

That really kind

I really, really like the words of

And, although it's not on this particular

design, I really appreciated the attention that

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our stakeholders were giving to the placement of
words.

That's poetry.

as a line.
lines.

You know, okay.

It reads

They were reading the inscriptions as

And I think that they really nailed where

to place those texts.
Okay.

I truly appreciate that.

I would like to go, then, to the

obverse number 1 again.
the Pentagon.

That's the next series,

That's the same feeling as --

CHAIRPERSON MARKS:
DR. BUGEJA:

You mean 1A?

If we go use this design --

CHAIRPERSON MARKS:

Michael, do you mean

1A?
DR. BUGEJA:

Yes.

CHAIRPERSON MARKS:
DR. BUGEJA:

One was eliminated.

O-1A I thought was in.

CHAIRPERSON MARKS:

1A.

MR. JANSEN:

1A is.

DR. BUGEJA:

1A is in.

MR. JANSEN:

One was eliminated.

CHAIRPERSON MARKS:

Is that right?

We have 1 up on the

screen.

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DR. BUGEJA:
be 1A.

Oh, I'm sorry.

I was looking at mine here.

It should
I'm so sorry.

If we don't use the responding eagle earlier -and perhaps this is more appropriate for the
Pentagon.

That's an eagle in response.

not ever again, not on my country.

And it's

I really

admire the artist for showing the Pentagon, for
showing the eagle in response to what happened on
9/11 at the Pentagon.

I'm not sure you need

"PENTAGON," but that's a minor brushstroke.
I'd like to go to O-2.
elegant, and it's beautiful.
to say about it.

It's very

That's all I wanted

It's just beautiful.

3 is beautiful, too.

And number

I don't have much to say

about that.
I would like to go to O-5B.
have eagle personified.

Again you

And every time you

personify an eagle, you're not only personifying
an eagle in the occasion of that eagle.
personifying America.

You're

And it's very hard to say

all Americans feel a tear.

Some of us don't.

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Some of us, you know, if they were younger, would
have joined the military.

But personification of

icons is always a lame use.
I want to go to obverse 08.
almost see this on a Roman coin.

And the reason

why I like this is a lot different.
ancients.

You can
I mentioned

In ancient Roman coinage and to an

extent in Greek coinage, which I also like, you
get what is called either the seat of power or you
get an icon, a protective icon, over a seat of
power.

Now, the seat of power here is not a

throne.

It's not a throne of God.

Pentagon.

It's the

And this is so, so classic.

And

whoever designed this was ingenious by using the
Roman numerals because that harkened where this
design came from.

I am thoroughly enthralled with

this design for those classic reasons.
know what?
the day.

And you

We talked about classic art earlier in
But when you can take classic Roman art

-- and I think Joe and I were talking about this
-- and resurrected it in a new way.

That's

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resurrecting, what we call -- in the literature
when you resurrect a cliche, you present it in a
new way.

And that's what that does.

I really

like that.
Okay.

In the next series of the

reverses, I want to go to O-3.
that to us.

Yes, you don't do

Someone asked what makes -- and this

is a medal I understand, but if this were a coin
and it was upside down, people would clamor to buy
it.

Shared strength is what I -- when I think

about 9/11 -- and, you know, I could just be an
ordinary male from New York.

I just think that

that's so important, so important.

Anyway, I love

that.
Can we go to reverse 08?

Again, I think

this is very interesting to me because of the
orientation.

And we said that there are ways to

create depth this morning.

And, one, you can do

it with light, but look at the orientation here
creating depth into the words.

And I think that

whatever the stakeholders want for words is

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absolutely fine with me.

I like the idea of the

stars.
And I was going to suggest something.
And it's going to make them, the Mint's people,
cringe.

Can we ever do edge lettering on medals?

It's a technical question.
UNIDENTIFIED SPEAKER:

We're working on

that.
DR. BUGEJA:

This is reminiscent of some

of the old classic gold brochure coinage where you
have stars or devices for gripping.

If those

stars could be the edge letters and then expand
that open design, you would have powerful -- for
those who are not numismatists, what I am talking
about, there are three sides to a coin:
obverse, the reverse, and the edge.

the

If you take a

look at more recently the earlier presidential
dollars had edge lettering.

It is very elegant on

medals to have edge lettering.

And I would even

say technically if you take a look at -- the $10
gold coin is another example of wonderful starred

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edge lettering.
higher relief?

If you could get that in a little
It's just a thought.

That's a

mechanical issue, but it would make this medal so
incredible.
I don't want to take too much time.
want to go to the last set.

I

That would be

FH-PA-R-05.
MR. JANSEN:

Obverse or reverse?

DR. BUGEJA:

This would be reverse.

we go to 05?

Now, it is very interesting.

you can't see it from here.

Can

I know

And I don't know if

this was intentional or not or from the psyche,
but you not only have depth in there; if you do
the outline above, you have an eagle.
at my -- you have an eagle.
outline the eagle.

Take a look

You can actually

It's subtle enough.

I don't

know if that was the artist's intention, but, wow,
did that give depth.
and then.

And a little tweaking now

I mean, you go ahead and draw it.

There is my drawing.

There is an eagle up there

if you draw the outline of it.

A little touch

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here and there, and you will really have a piece
of art that is worthy of being in a museum.

I am

just totally enamored with that.
And I'm sorry I went on this way.
is very personal to me.
Donald.

This

I'm going to let it go to

Thank you very much.

And my respect and

honor to all.
CHAIRPERSON MARKS:

Thank you, Michael.

Just a note to the Committee.
2:52.

It's now

We have 38 minutes to wrap it up.

We have

most of the Committee yet to give their reviews.
I hoped to not get into this situation, but I'm
sorry.

We're consuming too much time.

I'm going

to ask us to be as concise as possible, but please
address the issues that we feel are very
important.
I want everyone to have a chance to make
those comments.

And I don't want to short people

like Tom in here at the table who end up going
last.

So I'm going to ask us to be very

efficient.

Please express yourself fully.

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Donald?
MR. SCARINCI:
actually fast.

Well, I'm going to be

I didn't want to make the motion

or support the motion because I wanted to have the
full discussion about this, but when we're
considering Congressional Gold Medals, it's very
different than when we're considering coins or
commemorative coins.

And I think that there's a

lengthy process and in this case a painful
process, personal process that has taken place
with the constituents of this medal and the
recipients of this medal and their families.

And

I really intend to vote in favor of the wishes of
the host committee in every case.

And that

includes -- so that the artists' heads don't spin
when I say this, but that includes the reverses
with the words, even though you'll never hear me
or probably any of us think that's a good thing.
I don't want you to think that there's a change or
be confused.

It's not a good thing.

It's just

the thing that the host committees really want.

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And I think that a lot of time has gone
into this before we get this.

And I think that in

the case of Congressional Gold Medals in general
but in the case of these particular medals, I
think we need to respect the wishes of the host
committees and their families.

So I am voting for

all of the reverses with words for the reverses as
seemingly to be unanimous by the host committee in
every case, even when they're not unanimous
necessarily on the obverse.
So, that being said, I want to urge you
to strongly consider doing that.

That being said

-- and I am, by the way. from New York.

And I did

watch the buildings fall from my building.

I was

in a meeting at the time with the governor, with
this person who became the governor of New Jersey.
And we watched together.

And it was just what it

was.
For the obverse, the CFA and I agree.
And let me say this about these designs also.

For

the artists who are here, I mean, you hit the ball

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out of the park with these designs.

As a group of

designs, these are, you know, really, I think the
best group of designs, you know, that we have seen
in a long time -MR. JANSEN:

Hear, hear.

MR. SCARINCI:

-- if not, you know, from

ever.
MR. JANSEN:

Hear, hear.

MR. SCARINCI:
choose.

So it's very difficult to

Absolutely, I agree with Mike.

If I were

picking, it's hard for me to pass up on obverse
number 1.

You know, I think obverse number 1 says

it, captures it, does it.

You nailed it in number

1.

You know, the Committee seems to like number

8.

And the CFA recommended number 8.

also a powerful design.
the water thing.

Number 8 is

You know, so I also like

And that is exactly what they

have done there on the site.

You know, and I like

number 12.
Number 13, the crying eagle thing, was
done commercially and sold.

So that was done

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contemporaneous with 9/11.

And they made a ton of

money selling those things.
the families got their part.

And I'm sure none of
But, in any event,

you know, I think kudos to you.
I would go with number 1.

I will

probably throw a few votes to number 1.

But I'm

really going to give number 8 the three votes.

So

that's where I am.
With our second -- this is very
confusing to do this.

Okay.

Now, the second

group is a little less precise about what they
wanted, but, you know, nobody picked the phoenix.
So we don't need to talk about it.

And I think

the recommended ones are 1, 1A, and 12A.
picked 13.
reverse.

Oh, that's the reverse.
Let's see.

The CFA

That's the

Obverse.

Let's go to the Virginia one, where the
Committee picked 1A, 2, 3, and 5B, a toughie.
can't deal with this.
CFA wants on this.

I

I can't support what the

The CFA likes number 9.

I

think the constituent committee was able to live

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with number 2.

And I'm inclined to support number

2.
And then the deco thing that we've got
going on here in the next grouping of medals, it's
kind of neat.

And I had to look at my list to see

if Karen Worth was on the Artist Infusion because
I'd swear it was Karen Worth, but that's okay.
So I think that for the obverse, since
the constituents could live with 2, it was one of
their choices, I think 2 is actually a decent
design, even though it's an eagle, even though
it's a flag, all the things I want reduced.

And

then we go with the words as the reverse.
The last set of medals, I think they
picked.

The constituents wanted two reverses on

that, if I remember.

And I think that, actually,

that seems to be their unanimous feeling of the
two reverses; right?

Is that the one where they

all did?
UNIDENTIFIED SPEAKER:
MR. SCARINCI:

Correct.

If they all agree, let no

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man put asunder.

I'm voting for it.

So that's it, Gary.
CHAIRPERSON MARKS:
keep harping on this.

Next.
Okay.

I'm sorry to

We have 8 people to go --

no -- 7 people to go and 30 minutes to do it.
MS. STEVENS-SOLLMAN:
I promise.

Gary, I promise.

I promise, Gary.

CHAIRPERSON MARKS:

We need to stay

brief, but please express yourself the best you
can.
MS. STEVENS-SOLLMAN:

I'm going to

express myself as quickly and as fast as I can.
To go to number 1 for the New York, this is my
choice.

I don't want to talk about anything else.

This is the one I would go for for the obverse.
I like number 8.
MS. WASTWEEK:

Jeanne?

MS. STEVENS-SOLLMAN:

I can live with

that.
MS. WASTWEEK:

Could you clarify your

choice of 1 over 2 for me?

Oh, 1A.

Sorry.

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MS. STEVENS-SOLLMAN:

Yes, I will.

I

like the depiction of the Towers and the way they
are disintegrating.
more.

I feel like it's stating

This was a horrific event.

And, you know,

I just think here more of that is better.
1A, but I like 1 better.
feel.

I love

So that's the way I

It's just a choice.
Number 8.

You know, I think this is a

powerful design, but I have to say I like number 1
better.

I can live with this, but I think number

1 is better.

If you go to the reverse, I know the

preference is with text.

And as a medalist, I do

think it's important to have a similar set of
information on here.

And this particular text on

reverse 13 is very informative for those who need
to have that.

However, reverse 15 I think is

terribly powerful.
yes, reverse 15.
that.

Am I -- I'm on the right one,
I just like the simplicity of

I like the fact that there is a double

eagle there, which represents, you know, so much
of our nation and, you know, our people who were

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sacrificed and our people who went in to help.
just think this is a very powerful statement.

I
And

so I am inclined to favor this one.
For the Pentagon, I am going to do
something a little different.

I am going to go

directly to the reverses, to reverse 8 and reverse
9.

And I would like to see 9, reverse 9, to be

obverse and reverse 8 be reverse.
MR. JANSEN:

Would you say that again?

MS. STEVENS-SOLLMAN:

I want reverse 9

of the Pentagon -MR. JANSEN:

Used as the --

UNIDENTIFIED SPEAKER:
MS. STEVENS-SOLLMAN:
obverse.
simple.

Obverse.
-- used as the

And I think it's really powerful.

It's

I think, although if we have reverse 8,

then we have a double Pentagon.
to deal with that.

So we might have

But I think the strong image

of the eagle over the Pentagon was very powerful.
CHAIRPERSON MARKS:
MS. STEVENS-SOLLMAN:

Jeanne?
Yes?

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CHAIRPERSON MARKS:

Can I make a

suggestion?
MS. STEVENS-SOLLMAN:
CHAIRPERSON MARKS:

Yes.
Let me support that

-- go back to that image before -- support that as
a reverse.

And then after we do the tally, --

MS. STEVENS-SOLLMAN:
CHAIRPERSON MARKS:

Okay.
-- you make a motion

-MS. STEVENS-SOLLMAN:
CHAIRPERSON MARKS:

Okay.
-- to move that to

an obverse and see where the Committee goes with
it.
MS. STEVENS-SOLLMAN:
CHAIRPERSON MARKS:
MS. STEVENS-SOLLMAN:

Okay.
Thank you.
Thank you, Mr.

Chairman.
MS. STAFFORD:

Laurie, did you have

something?
MS. LAYCHAK:

Yes.

I would just like to

add that when the family members were reviewing

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these designs, there were many more preferences
for the reverse designs.
MS. STEVENS-SOLLMAN:
MS. LAYCHAK:

Yes.

If we had our inkling, we

would prefer to do two of the reverse designs,
rather than choosing some of the obverses.
MS. STEVENS-SOLLMAN:
MS. LAYCHAK:

Yes.

Okay.

So I just wanted to add

that.
MS. STEVENS-SOLLMAN:

Thank you.

Yes.

For Shanksville, Pennsylvania, I'm going
to skip again directly to the reverses.

I think

that reverse 5A and 5B are extremely powerful.
And I know Heidi prefers 5 because of the
simplicity, but I like to have text.
text on my work.

I like to do

And I think it is important.

So

if we chose either 5A or 5B, I would be very happy
and alter it however the stakeholders would like
to see that.
And I'm on reverse.

Oh, yes.

Reverse

10 I think would make a good -- I think those two

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images would make a good medal.

You know, I think

it becomes contemplative, it becomes solemn and
powerful.
That's it.
CHAIRPERSON MARKS:

Thank you.

Mary?
MS. LANNIN:
like 1, O-1.

Okay.

New York first.

I agree with Jeanne.

incredibly powerful.

I

I think it's

I, too, happened to be there

on that day, hard to talk about.

And I agree with

Don that I think that all three of the reverses
should have text on it.

So all of my reverse

choices will be for the ones with the text.
I have to say that I am not a big fan of
putting roses, you know, as a dividing line.

So

text fine, eagle fine, laurel fine, not so fine
with the roses.

Okay?

So that's mine for New

York.
Okay.

Virginia, again, the reverse of

mine, I would choose number 8.

And I agree with

Jeanne that I would like to see the reverse number

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9 be the obverse.

Okay.

We haven't conspired at

all.
MS. STEVENS-SOLLMAN:
MS. LANNIN:
Pennsylvania.

Okay.

No.
Then we get to

And, again, the text would be

number 10 for the reverse.

And for the obverse,

because the text on the reverse mentioned
September 11th, I would go with reverse 5, which
has nothing on it.
And that's it.
CHAIRPERSON MARKS:

Thank you, Mary.

Erik, are you ready?
MR. JANSEN:

I'll pass.

CHAIRPERSON MARKS:
come back to Erik.

Okay.

Well, we'll

All right.

This is probably in my seven years on
the Committee the most difficult program for me to
review.

I don't see that there is any right or

wrong with any of these designs.

And I say that

because I recognize that what happened was so
personal to each of us as Americans.

And we each

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process it in our own way.

And when you think

about what art is and what we're doing here today,
we're trying to evaluate which art is best.

And

in this case, for something that is so intimate to
the individual, it is hard to say what's right and
what's wrong because we're each going to process
it differently.

So all I can bring to this is my

own process and what it means to me.

And, in

doing that, I have the greatest respect for how
another one of my Americans, brother or sister,
who looks at it, that they, too, might process it.
And that is most likely different.

So my thoughts

are -- most of them are going to be general and a
few specifics, but what we're dealing with here
not a plaque.
A plaque is something you put at a site.
It's geographic in its orientation.

And by its

nature, a plaque needs to carry a message in word.
What we have here is a round disc, three-inch
disc.

And in my world, it's all about the art and

what art says to the individual, how you process

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that art.

And, as far as I'm concerned, the less

text, the better because, especially in this case,
when we approach what happened, I come to it with
reverence, wanting to extend solemn honor that I
think is so sacred to these sites.
designs we need here are simple.

So I think the
And they allow

the individual to approach it in silence without
words telling us what to think or how to process
what happened.

I think this is a case where art

should speak to the individual and it should
impact you for the art, not for the text.

So I

speak strongly -- I'm sorry if it offends but
strongly against a textural message.
case, less is more.

So in this

And let people experience the

art.
So I'm going to just make a few very
brief comments.

If we go with obverse 8, -- can

we go there for New York? -- "2011," I think its
positioning is confusing.

If we have to have it

there, either put it in the round underneath "ACT
OF CONGRESS" or do something else with it because

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to me, I'm confused.

Is that part of the Act of

Congress message or are we trying to say something
happened on 2011?
So we could go to obverse 12.
what I mean.

This is

You don't need any words for this.

I remember the first time I saw the lights being
beamed up to the heavens, where the Towers used to
be.

And I remember the emotional impact, just out

of the gut and my heart, because it was a message
of, you know, we took a big blow, but light is
hope.

Light is inspiration to carry on.

Light in

the iconology has always had an interpretation of
knowledge that we're better, we're wiser than we
used to be, unfortunately, about some horrific
things that can happen in our world.

And then

just the candle there reinforcing that, I just -this needs no words.

But as I approach it as a

human being, it impacts me.
Let's look at 13, the next one.

I'm

going to take some -- I'm going to be ostracized
by my fellow members about this.

You know why

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this is fabulous?
(Chorus of "No.")
CHAIRPERSON MARKS:

Yes.

I actually

think it is.
DR. BUGEJA:

You're our friend.

You're

our friend.
UNIDENTIFIED SPEAKER:
DR. BUGEJA:

Heckle.

Heckle.

Don't go there.

CHAIRPERSON MARKS:
gallery to silence itself.

I want the peanut
When you look at this,

part of how art impacts you sometimes is the
unexpected.

We expect the eagle to be strong.

We

expect the eagle to be, you know, that proud
representation of our nation.

But you know what?

At the moment those planes hit the World Trade
Center, we were all stuck.
our eye.

We all had a tear in

And having those two lighter indications

in the reflection of the eye you know what that
means.

So I know I bark up a hopeless tree on

that one, but I'm going to be bold and tell you
what I think.

And that's what I think about that

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one.
Let's see.

Moving on.

Reverse 13.

I

don't need to say a whole lot more when you look
at it because you know what I think about it.

My

sensibilities from an art point of view, which I
believe a medal is supposed to be about, are
missed.

Unfortunately, in 2009, we did a

commemoration for Abraham Lincoln.

And we drew

some text off of his Gettysburg Address,
inspirational words for sure.

But we had a chance

to say something in the artistic realm about
Abraham Lincoln, and we missed it.

We repeated

something that is on monuments and plaques and
books everywhere across our nation.

And we didn't

do anything new to touch the soul about Abraham
Lincoln.

I don't want that to happen again.
Moving on.

text.

Virginia obverse 8, minimal

I can buy into that, moving image, new way

of looking at Liberty in mourning.

My soul has

been moved by that and what those stars mean for
those individuals and the families that are a part

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of each one of those stars.

That emotes something

from me deep inside.
Virginia reverse 6, please.
many words there.

I wish we could get rid of "ACT

OF CONGRESS," "2011."
approve this.

Again, not

We know congress had to

I don't think that's what we're

commemorating here.
shift the focus.

I think it's wrong for us to

But if you take that off of

there, I can live with "OUR LOSS WILL NOT BE
FORGOTTEN."

That number, "184," wow.

That hole,

that reminds me of that day looking at the news
reports and seeing the fire and the smoke and,
"Oh, my God.

There's a hole in the Pentagon."

That's what I'm talking about.

It's moves you.

Let's move on to Pennsylvania 7, obverse
7.

We're not going to use this in this program,

but I think there's a great opportunity here.

At

our last meeting, the Committee recommended an
arts medal program where artists could operate
without a lot of legislative restriction on them.
So in the realm of a national medal, rather than a

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Congressional Gold Medal, it would-be wonderful to
see this kind of art used through that venue and
not just forgotten.

I think there's some value

and some thought that that provokes, the same with
-- we could move to reverse, Pennsylvania reverse
7.
This won't make it onto the medal, I
predict, the Congressional Gold Medal, and perhaps
it shouldn't, but, again, I would take "ACT OF
CONGRESS" off of there.
that.

I don't really care about

But just that image, knowing that this is a

9/11 medal -- maybe it's not the Congressional
Gold Medal, but imagine this is a national medal
that we could also as Americans have an option to
buy just as people who want to experience art.
Let me go on to others really quickly.
Eight, art deco all day long but still wonderful,
something we don't normally see on American
medals.
away.

I would hate to see that image just go
I don't think it's going to be used in this

program.

Perhaps it shouldn't.

But I would hate

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to lose it.

If we could do a national medal, that

would be wonderful.
Let's go on to the next one, number 9,
same with that.

Oh, my gosh, just the circular

nature of I'll call it an angel, how it honors the
shape of the medal.

It's an upward look in her

eye, just a wonderful design.
words.

And we didn't need

And you can take "2011 ACT OF CONGRESS"

off of there.
So I've said enough.
go on.

And I'm going to

Are you ready yet or -MR. JANSEN:

I don't have a lot to

comment on other than I think it's highly likely
just from the discussion I have heard and in my
own personal opinion, that on the Pennsylvania
medal, we'll end up picking two or three verses to
populate the obverse and the reverse.

So that

will probably end up being a motion at the end.
We'll see how the strength of the obverse votes
goes.
I owe this to you, Gary.

The eagle with

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the tear, I get it, but I'm not going to put it on
this coin.
CHAIRPERSON MARKS:

And I don't expect

-MR. JANSEN:

But I totally get it.

CHAIRPERSON MARKS:
MR. JANSEN:

It is not expected.

And the other thing I am

going to say is on the obverse for the New York
medal, Heidi opened with it.
a verb and add to it.

I'm going to change

That is a ghostly, ghastly

image, the obverse on New York number 1.

And if

these medals are for those who gave their lives,
90 percent of the lives failed in that ghostly,
ghastly image, including coworkers of mine,
clients of mine, and personal friends of mine.
That's it.

Thank you.

CHAIRPERSON MARKS:

All right.

Go on to

Michael Moran.
MR. MORAN:

I think, first of all, we

need to talk just a second about inscription
again.

I'm going to try and drive it into the

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ground.

I hate inscriptions.

1,000 words.

A picture is worth

When somebody puts an inscription on

there, they're trying to dictate to me how I
should feel and how my emotions should play out
over the event that is being commemorated.
is not what it is meant to do.

That

It is meant to me

to reach my own conclusions.
On the other hand, there appears to be
some sentiment as we go forward on some of these
reverses to consider.

And I think that if you do

it on one, you have got to do it on all three.
That's why I brought it up ahead of time.

That

means that you want continuity on the reverse.
But that's something that you're going to have to
recognize.

If you go for one of these, you really

ought to be voting for all three of these reverses
with inscriptions.
Now, then, I've struggled with this.
like classic.

Classic images, that's me.

And,

yet, as I listen to things here, I suddenly
realize that you have New York, you have

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Washington, two vastly different locations,
different people, different cultures.

And then

you have the field in Pennsylvania, entirely
different again.
about.

Continuity is not what this is

Classic is not necessarily what this is

about.
When you look at New York, it is the
face of America what the world really sees in
terms of its culture.
culture.

It's a modern, upbeat

It is a style mark.

But you can see

clearly side 1, 1A, obverse 1/1A -- you don't have
to follow these, April -- and reverse 1/1A are the
heart of New York and the way it should be
expressed in this manner.
The problem I have is I don't want to
see the vote split because I saw that happen on
the Saratoga Medal.

And I talked to the AIP

person who had the two second place finishes who
were unhappy.

You have got to decide between 1

and 1A on both sides of this.
I'm going to tell you, Jeanne, Heidi's

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right.

You need the space.

and say I'm sorry.

I'll buy you a drink

It's 1A.

MS. STEVENS-SOLLMAN:

Two drinks.

(Laughter.)
MR. JANSEN:

Three drinks.

Buy them for

the house, buddy.
MR. MORAN:

When you go to the reverse,

I go back to Saint-Gaudens on 1.
MR. JANSEN:

Saint-Gaudens says it's the

other one, too.
MR. MORAN:

Yes, I know.

them for some of them.

I had to have

You need that spear across

there, "LIBERTY ENDURES."

Don't stack it.

It

needs to be a spear across there, across the whole
skyline.

So I'm for 1 on there.
Let's go to the Pentagon.

When you

think of the architecture on the Mall -- and I'm
not an architect, but it's Greco-Roman.

The

Pentagon itself is pretty much the same way.

I

think the Grecian goddess of hate is superb.

It

really is.

I don't think it gets any better than

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that.

I think we have a lot of risk, particularly

in Pennsylvania, of being a split Committee and
undecided before we're done, possibly.

But I

would be surprised if we don't get this obverse on
the Pentagon.
That's enough said.
MS. STAFFORD:

Mr. Moran, I'm sorry.

May I interject because it's been a couple of
comments about this design?

I just wanted to note

for the Committee again that the stars that are
here represent those that fell, that died inside
the Pentagon.
MR. MORAN:

Yes.

MS. STAFFORD:

Those that perished on

flight 77 are represented elsewhere on a pair of
obverse.
MR. MORAN:

Yes.

MS. STAFFORD:

So I just wanted to keep

the Committee -MR. MORAN:

That gets to the issue.

Let's go to the reverse.

And the two of them are

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reverse 7.
MS. STAFFORD:
MR. MORAN:

Yes.

I believe it was 7.

MS. STAFFORD:
MR. MORAN:

Yes.

The issue I have here is

that this is almost like the obverse.

I can go

with this, but my preference is for a Roman eagle.
I think the best eagle set that we're looking at
is in 9.
I don't like the eagles in 5, 5A, and
5B.

I was a bird hunter when I was younger.

That's a dead bird.

It is.

I mean, it's when you

are shooting a bird and you're holding it up by
the wing, that's what it looks like.
hangs down.

The head

It's dead.

DR. BUGEJA:

Were you out shooting

eagles?
MR. MORAN:

No, I didn't shoot eagles.

But that's your reverse of this.

I

don't know what you do, April, about the stars.
guess we'll cross that if we choose A on the

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obverse.
My bigger problem is Pennsylvania.

I

like obverse 7, but I get into trouble when I pair
it with reverse 5 because there's not a word on
it, no descriptions at all on these.
that.

I can't do

That's the trouble.
I've got one question for Steve.

Could

we ever get "Act of Congress" 2000-whatever for
any of these medals under the rim without a major
problem production-wise?
MR. ANTONUCCI:
it's asking too much.

Is that asking too much?
Well, I don't know that

I think it's a technical

issue in terms of coining these.

Then we're

talking about a split collar totally.
MR. MORAN:

Yes.

MR. ANTONUCCI:

It's something that I'm

looking into, something I would want to pursue
because it gives us another dimension we don't
have.
MR. MORAN:

Yes.

You know, it's not

about Congress and their act at all.

It needs to

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be off there on the visual plane.
So I guess, in reality, I am going to
have to go with 5B on that with the obverse.
like Gary.
chosen.

I like obverse 8.

I'm

It won't get

But again, with the forest there, you've

got 5, 5A, 5B.

We may have to come back as a

group and revisit this so that we don't have a
split vote.

It will help us get to a decision.

I'll shut up.

Enough.

CHAIRPERSON MARKS:

Thank you, Michael.

We'll go to Robert.
MR. HOGE:

Thank you.

I have heard so much here this afternoon
that I would merely echo myself, but then I would
not have very much to say in addition.
I have to agree with most of the
selections that I have heard here specifically
mentioned.

For the New York obverses, I think

that the first two or three there, I don't have a
really strong preference.

I feel strongly about

the New York designs, however, because that was

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the very day that I left my home in Colorado
Springs to move to New York.

And I walked in to

turn in my keys at my apartment rental office,
where the TV was on.
Towers falling.

And I saw the World Trade

And I thought, "What am I doing?"

Anyhow, I do like the design obverse 5
from New York, the torch with the silhouette of
the Towers on the background, if I remember.
think this is a very striking image.

I

It's a kind

of eagle's eye view flying by the Statue of
Liberty.

And I think everyone would get this.

the 9/11, it's simple.

In

And it gives the idea of

the remembrance of the event very clearly and
boldly, I feel.
For the reverses, I don't really have a
terrible problem with inscriptions.

I think that

they are sometimes very necessary to convey a
message that might otherwise be obscure.

So I

don't feel very strongly about the reverse.
For our Virginia Pentagon pieces, my
preferences are not terribly strong.

I would

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accept many of the ones we have already seen.

But

I'd like to mention obverse 8, where we got the
classical figure within the Pentagon thing.

This

is an image which is the classical traditional
pose of prayer.

This is the position in Latin.

It's the Oross.

It's the Madonna.

This is the

ancient Roman and the earlier Christian pose with
the open hands downward like that.
prayer.

That is

This figure doesn't say liberty.

not an image of liberty.

This is

There is no attribute

that libertas or freedom went into this.

This is

piety or grief with a gesture of prayer.

So we

need to think about that.

If we want it to be

liberty or America, we need to change the figure a
little there.
I really like the image of this down to
the stars in the figure, but I think we need to
rethink it perhaps a little bit.

When I first saw

this, I thought, "Well, what are these numerals?"
And I had to count and see, "Well, let's see.
that 11 or 9, another 9 there?

I see 2011.

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What's that 37?"

You know, it's not something I

could immediately grasp, although, of course, I
knew what it was once I spelled it all out.
So I think this needs to be carefully
combined with a reverse type.

And maybe the one

we saw there with the figure that is more clearly
identified as liberty would be its correct pair.
But I think it doesn't really need to be.

I think

this could be explained with an appropriate
textural commentary on the other side of the
medal.
I do rather like the image of reverse
number 6 for Virginia.

It appears with the

Pentagon with the illumination of the eagle.

I

think it might go well with the other design.
For our images for Pennsylvania, I don't
have a strong preference for obverses.
understand the difficulties with those.

I
For the

reverses, again, however, I don't have a really
strong preference of these.

The image of the

trees and the rock when I first looked at these

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didn't mean anything for me, "Why is there this
rock in all of these things?"

Now, of course,

when I read the text, I understand, "Oh, yes.
Well, this is symbolizing exactly where this
catastrophe occurred."

But it probably does need

some text because in future generations, there
will be people even more ignorant than I am who
will wonder what is going on here.

So this has to

be very carefully paired with a textural theme,
something that explains what this is all about,
too, because this doesn't say to me airline
disaster, terrorism, heroism.

It's a peaceful

looking grove with a nice rock, which my mother
and my sisters would adore.

This is a little

forest and a pebble.
Thank you.
CHAIRPERSON MARKS:

Thank you, Robert.

Tom?
MR. URAM:

And, in conclusion --

(Laughter.)
MR. URAM:

Well, I'll tell you, first of

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all, having heard, you know, been here at the
first meeting and now being here with these
designs, they are tremendous designs and
tremendous representations in honoring all of
those of that day, whether it be those that
perished or those that fought or those that live
on to remember.
What am I thinking about now?

I'll tell

you what I'm thinking about because there would be
no way for you to know.
Harbor.

I'm thinking about Pearl

And I'm thinking about that that

generation is nearly gone.

You're wondering where

I'm going with this, aren't you?

And what I'm

thinking is as we get older, as we are, in 100
years from now, how are the medals going to be
viewed?

How is the story going to be told?

And,

even though it might be a debate today on the
words, I think that the story will be remembered
because of the words.

The remembrance and the

legacy will come from that in my opinion because I
think of Pearl Harbor, and I think, "I didn't

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experience Pearl Harbor.

My dad, who is 93, he

did, maybe his generation.

But it's going."

we don't have that same connection.

So

And when

we're out 100 years from this event, is the same
connection going to be there?
going to be?

How is that story

So I'm basing my decisions on how

I'm voting based on those thoughts.
So, first of all, based on the obverse
design number 1A, really, even though number 8 is
a great design, it's still of the buildings
themselves.

This is the only design that is

showing a person, showing what the legislation
requires.

So I'm going to lean towards -- I'm not

going to lean.
that.

I'm going to vote in favor of

I think it is very powerful.

And I think

it tells that.
Number 13 for the reverse for what I
said about the story.

And based on what my

colleague Mike Moran said, if you're going to vote
for one, you need to vote for all three.

And

that's what I'm going to do.

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The Pentagon obverse represents, as
Michael says, the strength.

And what better place

than the Pentagon for the use of that design.

And

I like that design and the other one, but I think
that is the appropriate place for the particular
design of the 1A.
Once again, I think reverse 7 -- and a
number of these designs are super, but once again,
based on my feeling towards the words, number 8.
And what Mary had said about "I like that, but I
am going to go with number 8," and I agree.

I

think not in this one but on the other when we get
to that -- it might have been on the reverse of
13.

I don't like the rose either.

I think one

rose was enough, not two roses, based on Mary's
comments as well.
UNIDENTIFIED SPEAKER:
MR. URAM:

Zero roses.

Or zero roses.

If they pass,

we can have that as an amendment on there.
On Pennsylvania, obverse number 6 is -I think that's a great design because it's a

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towering design, but, yet, it's also a bright
design.

It has the rays of the sun.

It has a lot

of good going for it out of what was bad.

And,

once again, the reverse number 8, the retro look
is great, but it doesn't tell the story.

I have

to go with reverse 10.
So what I'm looking at is this.

An

obverse design on all of these represents the
uniqueness of the event of that day.
separate events of that day.

And they're

So the obverse can

be the uniqueness to each one.

The reverse

represents the unity and the strength through
words of a nation that is going to heal, a nation
that is going to remember, and the nation that is
never going to forget.

And I don't want to take a

chance that an abstract design, although wellintentioned today, will deliver the same powerful
message that words will deliver forever.
Thank you, Mr. Chairman.
CHAIRPERSON MARKS:
Okay.

Thank you.

We have come to the conclusion of

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our individual review.

In the interest of time, I

would like to give some back to our stakeholder
groups.

So if any of you in the room or anyone on

the phone have some brief conclusionary remarks or
reaction to what you have heard today, I would
invite those now.
MS. LAYCHAK:
the Pentagon.

Well, I'll comment from

First of all, for the design, I

hear your individual stories here today.
know, we're in our own world.

You

And I can hear the

stories, your stories, on how it impacted you.
It's about the personal effect on us.
Second of all, by daytime, before I
retired, I was Army staff.

I had been working on

the Army staff as an analyst.
worked in the theatre.
for the arts.

By nighttime, I

I have a full appreciation

And I understand it.

And I

understand when I have to explain to people what
they were trying to say in the show, some people.
I want this coin -- I think I speak for
all of us.

We want the coin to be something that

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people can look at and understand, instead of
saying, "What is this all about?"
the inscriptions.

Right?

And so

That will help with that,

although I do like the symbolism that you gave,
the symbolism and the simplicity of it.
Add to that?
MR. WHITE:

If I may, Mr. Chairman?

CHAIRPERSON MARKS:
MR. WHITE:

Please?

Patrick White with flight

93.
CHAIRPERSON MARKS:
MR. WHITE:

Please go ahead.

Thank you.

I just want to comment on my and
Carole's behalf that we are so very impressed by
the intelligence and the integrity of the
Committee and your process.

We clearly have

ourselves deliberated for many years about a lot
of the issues we all share at the three sites.
And I am glad to see that there are views on this
Committee that share how important this is for us.
That said, I just want to indicate that

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none of the remaining Committee choices more
powerfully express as two faces on one coin what
our 40 fallen heroes should be remembered more
poignantly than what the family has put forth as
its unanimous preferences.
the intended target:

On one face, we have

the Capitol.

On the other,

we have the commemorative memorial boulder where
they lie gently at rest.
So let me thank you for your time.

And

we'll listen for your -MS. O'HARE:

This is Carole.

wanted to make one comment.

I just

And, again, I

appreciate everything that you all have done for
us.

For the gentleman who commented that this is

not for us who saw the event and witnessed it live
and experienced the loss but it's for the future
generations to be able to look at the medal and
maybe just see a picture of something and have no
idea what they may be looking at if they are not
artistically inclined.

So to me, the words have

meaning to this medal.

And from the words, they

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can read and then seek out what they're looking to
find at one of the memorial sites.

And I'm

specifically, you know, more tuned into flight 93
at this point, but I think it would be the same
for probably all three.
Pentagon or New York.

I can't speak for the
I can speak for flight 93.

So I would just ask you to reconsider
your position on using some words on the medal
going forward.

Thank you.

CHAIRPERSON MARKS:

Thank you.

Are there other comments?
(No audible response.)
CHAIRPERSON MARKS:

Well, I want to

thank all of you who came to give us your thoughts
and your ideas about this medal.

I know you've

lived through unimaginable things related to all
of the events of 9/11.

And this is just one of

those things that you have been a part of since
that time.

So thank you so much.

I have such

heartfelt thanks to you and respect for everything
you have contributed to this process.

So thank

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you.
MS. WASTWEEK:
voting.

I want to talk about the

May I make comments about the voting?
CHAIRPERSON MARKS:
MS. WASTWEEK:

Go ahead.

I want to explain to

those of us who are joining us for the first time
how we do our voting process.

We give each design

a vote from zero to three based on merit, not in
order.

We don't pick our first, second choice.

And we're not required to vote for any if we don't
like any.

And we don't have to give any threes or

there are other requirements, such as if we think
it would merit an award, we give it three points.
And if it's, you know, nearly fantastic, then we
give it two points and so on and so on.
So I want to inform our audience of our
process and remind the other members that if you
do have one strong preference in a group but there
is another design that you would be okay with,
too, please don't give that zero votes just
because you think it's going to push your favorite

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forward.
And, like Moran said, there's a danger
of splitting our vote.

If there are two similar

designs that we all like but maybe we have a
preference a little more toward one than the
other, please don't vote three for your favorite
and vote zero for the other because it will dilute
the vote.

And it won't get picked at all.
So if there are two designs that you

really like that are similar; for instance, the
New York 1 and 1A, I would suggest that we give
both of them three votes or equal votes.

And then

if they do rise to the top at the end, then we can
decide which of the two we want.

So let's not

give the second choice a diluted vote at risk of
not getting voted in at all.

So that would be my

suggestion.
And for those who turned in your votes
already, if you want to change any of your votes,
that's the beauty of our meetings is we come here
with our opinions.

But then we listen to what

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other people have to say.
minds.

And we do change our

What you do say does matter.

And while

I'm not in favor of the inscriptions on the coins,
you make some excellent points and the other
things.

And I'm not opposed to that.

support that very much.

And I could

And I like getting my

opinion changed for that reason because I'm not
all knowing.
That's it.
CHAIRPERSON MARKS:

To add to Heidi's

comments, the reason we vote that way and not just
a straight yes or no exclusionary kind of vote is
it gives us a chance to measure intensity among
the designs.

So I might give a design a two or a

three and so forth.

And the collective of all of

that is really what speaks to that voting process.
It gives recognition to all of the designs at some
level.

So when you see the result, it is not any

one's person decision to do this or that.
an intensity thing among all of us.

It is

It's truly a

collective decision.

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So, with that, I am going to ask the
members if you haven't completed your ballots,
that you go ahead and do that for each of the
medals.

If you would pass those in to Erik or the

Committee secretary?
tally this.

And we are going to need to

I know that several of us here in the

room are going to want to know what those results
are before we leave.
So we're going to take a brief break.
We're going to allow Erik to tabulate these votes.
And let's say in 10-15?
MR. JANSEN:

We'll hope for 10 and see

what we have in 15.
CHAIRPERSON MARKS:

If we're not ready

in 10, I'll reconvene us in 15 minutes.

So either

-MR. JANSEN:

Or you can move on.

CHAIRPERSON MARKS:
or 4:00 o'clock.

-- 5 until the hour

So we are recessed.

(Off the record.)
(On the record.)

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CHAIRPERSON MARKS:

We're still

finishing up the tally on 9/11 medals, but in the
interest of time and recognizing we have other
business, at my discretion, I think we need to at
least begin the introduction of the March of Dimes
program.

And as soon as our Committee Secretary

indicates to me that we have some results on 9/11,
I'm sorry, but we'll have to break out of March of
Dimes to come back to it later.

There are a lot

of folks who are waiting for the results of that.
But we are a little short on time, but we have to
give it the time it needs at this point.
REVIEW AND DISCUSS CANDIDATE DESIGNS FOR THE
2015 MARCH OF DIMES COIN PROGRAM
CHAIRPERSON MARKS:
of Dimes program.

So we have the March

And I am going to recognize

April for her report.
MS. STAFFORD:

Thank you, Mr. Chairman.

The March of Dimes Commemorative Coin
Act of 2012, Public Law 112-209, requires the
Secretary of Treasury to mint and issue one-dollar

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silver coins in recognition and celebration of the
75th anniversary of the establishment of the March
of Dimes.
The March of Dimes, previously known as
the National Foundation for Infantile Paralysis,
was created on January 3rd, 1938 by President
Franklin Roosevelt with a mission to fight polio.
The foundation established patient aid programs
and funded research for polio vaccines, which
ended the polio epidemic in the United States.
After this, the foundation shifted its focus to
preventing birth defects, prematurity, and infant
mortality.

It continues to actively promote

programs and fund research that improves maternal
and infant health.
Surcharges received from the sale of
coins issued under this act are authorized to be
paid to the March of Dimes to help finance
research, education, and services aimed at
improving the health of women, infants, and
children.

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The designs under this act shall be
emblematic of the mission and programs of the
March of Dimes, its distinguished record of
generating American support to protect children's
health, and should contain motifs that represent
the past, present, and future of the March of
Dimes.

Required inscriptions include "Liberty,"

"In God we trust" and "2015" while the reverse
inscriptions include "United States of America, "E
pluribus unum," and the "one dollar" or "$1."
As we have, Mr. Chairman, with the other
programs today, we'll go through the candidate
designs.

I will stop if there is a preference by

the liaison from the recipient organization and/or
the Commission of Fine Arts and read the design
description at that time.
CHAIRPERSON MARKS:
MS. STAFFORD:

Thank you.

We'll start with the

candidate designs for the obverse.

Obverse 1, 2,

3, 4, 5, 6, 7, 8.

Obverse 9, this is a preference

from our liaison.

It was also the Commission of

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Fine Arts' recommendation.

"This design features

the Roosevelt dime, Dr. Jonas Salk, and a dime
board.

President Franklin D. Roosevelt

established the National Foundation for Infantile
Paralysis, now called March of Dimes.
discovered the anti-polio vaccine.

Dr. Salk

And the dime

board reviews the contributions to the March of
Dimes."

I should note that when the Commission of

Fine Arts recommended this, they recommend
considering removing the dime board for clarity of
design.
Obverse 10; 11; 12; 13, another
preference from our liaison.

"This design depicts

Franklin D. Roosevelt in profile, 1946 dime, and
seeing in a Petrie dish Dr. Jonas Salk extracting
the anti-polio mellitus vaccine."
Obverse 14, another preference -MS. WASTWEEK:

April?

MS. STAFFORD:

Yes?

MS. WASTWEEK:

Whose preference was

that?

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MS. STAFFORD:

I'm sorry.

This was the

liaison's preference, March of Dimes.
Fourteen, another preference for March
of Dimes, features Dr. Jonas Salk extracting the
anti-polio mellitus vaccine, the double RNA helix,
and several 1946 dimes.
CHAIRPERSON MARKS:
MS. STAFFORD:

Yes.

That's a preference?
Obverse 15, another

preference by the March of Dimes.

It depicts a

profile of President Franklin D. Roosevelt and Dr.
Jonas Salk.
Obverse 16, 17, 18, 19, 20, 21, and 22.
Moving on to the reverse designs, here
we have reverse 1; 2; 3; 4; 5; 6; reverse 7, which
is a preference by March of Dimes, this design
inspired by the many success stories of the March
of Dimes.

Here we have a mother with a child

symbolizing a mother's love.
Reverse 8; 9; 10; reverse 11, another
preference from our liaison, or the March of
Dimes.

I should note that while this was not the

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recommended Commission of Fine Arts, it was in
contention as they were moving towards a
recommendation.

This design represents a healthy

baby whose future is free of polio and other
diseases, based, in part, on contributions to the
March of Dimes, which funded the research.

It

features a baby sleeping peacefully in the hand of
its parent.
Reverse 12, 13, 14, 15, 16.

This design

was the recommendation from the Commission of Fine
Arts but is not the liaison preference.

This

design features two fingers and a thumb grasping
the edge of a 1946 Roosevelt dime to place it in a
March of Dimes donation board.

To the right is a

pair of empty children's polio braces.

The large

size of the fingers and card slot symbolize the
power of thousands who gave their pocket change to
a good cause.

The empty leg braces celebrate the

victory over polio.
Reverse 17 and 18.

That concludes the

candidate designs.

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At this time, I would like to recognize
our liaisons from the March of Dimes that are with
us today.

We have Kristy Lysik, Director of

Special Events; as well as Michelle Kling,
Director of Media Relations.

Would either of you

like to make some comments to our Committee at
this time?
MS. LYSIK:

Thank you very much for all

of your work and for having us here.

We are

really excited to be able to represent our past,
present, and future.

We have a very robust

history, very impactful history that is so
important to us and where we are today.

And, as a

report and a mission that I live, mission due in
June, I look forward to bringing a very healthy
baby into this world.
the March of Dimes.

And I owe that, in part, to
So thank you for having us.

(Applause.)
CHAIRPERSON MARKS:

Will there be

anybody on the phone?
MS. STAFFORD:

No, sir.

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CHAIRPERSON MARKS:

Okay.

Then let me

first off say before we really get into the meat
of all of this my own opinion that I think the
artists have knocked this one out of the park.
There are several of these designs that could
possibly work.

So I think it's hard to fail on

this one when we're given such great art.
So, with that, just a quick note.

And I

ask for my Committee members and the staff in the
room to forgive me.

I'm going to sound like a

broken record, but I'm not sure these ladies were
here when I did this before.

But I want to just

quickly note that so there is no misunderstanding,
that as we go through these designs, members will
make comments, likely both pro and con, about the
designs.

And that is because it is our mission to

make sure that, at least in our own assessment,
we're passing on the best recommendation possible
to the Secretary of the Treasury because we want
this program to be honored to its fullest extent
possible.

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I think we're all just tremendous
supporters of the March of Dimes.
about every American is.

I think just

The work that the

organization has done through the years is just
phenomenal.

And, really, it has changed our

nation in many ways.
So if you hear derogatory remarks about
a design that maybe you personally like, please
understand it comes from sincere hearts who are
only trying to do our level best to get to the
best recommendations possible.

And then as

individuals, we are all going to have different
opinions.

And just because one member says one

thing doesn't mean it's necessarily something that
the corporate body buys into.

That is decided

corporately what we decide is done through this
balloting process -MR. JANSEN:

Which is all done.

CHAIRPERSON MARKS:

-- that we have just

seen play out with the 9/11 medal.
So, with that, it sounds like a good

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point to break -MR. JANSEN:

Yes.

CHAIRPERSON MARKS:

-- and report on the

9/11 medals.
MR. JANSEN:

All right.

There's your

obverse New York.
CHAIRPERSON MARKS:

Okay.

Just as a

note, the Committee has a rule that a design needs
to reach a 50 percent threshold of a possible
score before it can obtain a recommendation from
the Committee.

We don't want a minority decision

guiding our recommendations.

So, with that, we

have ten members voting, a possible vote of 30 on
any given design.
be 16.

So threshold, 15 plus 1 would

So any design needs to be above that

threshold of 16.
So with the Oregon -- or where did that
come from?
(Laughter.)
CHAIRPERSON MARKS:
apologize.

New York obverse.

Goodness.

I

I saw an O in

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obverse, and I think it took me someplace I didn't
want to go.

New York obverse.

We have a very

close vote here between 1 and 1A.
1A has 19.

Two and three were eliminated from

consideration early on.
Five received 11.
received five.
received 11.

Four received zero votes.

Six had been eliminated.

Seven was eliminated.
Ten received zero.

and 11 had been eliminated.

6A

Eight

And 8A had been eliminated.

received one vote.
3 votes.

One has 20, and

Nine

10A, 10B,

And then 12 received

And design 13 received 4.
So at this point, our indicated

recommendation is for obverse 1 for New York.

The

Committee I would guess is going to visit that
with some motions to resolve the closeness of that
vote so our recommendation is certain.
New York reverse.
design number 1 with 16.
had been eliminated.

We have the selected

1A received nine.

Three received one.

Eliminated prior was 4, 5, 6, 7.
received zero.

12A received one.

Number 12
Design 13

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received 14.

And that's the second highest in

this evaluation.

Fourteen had been eliminated but

somehow still garnered three.

And 15 garnered 4

votes.
So the indicated recommendation on the
reverse is number 1.
MR. JANSEN:

Okay.

Now, what you might

want to note is that 1 and a 1A is a kind of a
combined vote.
CHAIRPERSON MARKS:

Right.

We're going

to resolve that.
MR. JANSEN:
that.

So we'll have to resolve

Right.
CHAIRPERSON MARKS:

Let me run through

this in case there are some people who need to
leave the meeting before we're done sorting this
out.
MR. JANSEN:

In the case of Virginia

obverse, Virginia obverse is straightforward.
CHAIRPERSON MARKS:
was eliminated.

Virginia obverse, 1

1A received eight.

Two received

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five.

Three received one.

been eliminated.
eliminated.

Four, 5, and 5A had

5B received zero.

Six was

Seven received --

MS. BRADLEY:

Gary, you're going a

little fast.
CHAIRPERSON MARKS:
MS. BRADLEY:

Sorry, Deb.

Can you start over?

CHAIRPERSON MARKS:

For you, Deb, I'll

do that, yes.
MS. BRADLEY:

Oh, bless you.

CHAIRPERSON MARKS:

I'll start over.

Number 1 had been eliminated.
Two received five.

1A received eight.

Three received one vote.

Designs 4, 5, and 5A had all been eliminated
prior.

5B received zero.

eliminated.

Number 6 had been

Seven received two votes.

our recommended design with 17.

And 8 is

We also had under

consideration design 9, which received one.

And

then 10, 10A, and 11 had all been eliminated prior
to our discussion.
Virginia reverse, design number 1

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received zero.

Design number 2 received 6.

had been eliminated.

Four received three votes.

Five had been eliminated.
Design 7 received 8.
design with 21.

Three

Six received six.

Design 8 is our recommended

Design 9 received 12.

And both

10 and 10A had been eliminated.
Moving on to Pennsylvania obverse.
Okay.

These have all been eliminated:

3, 4, and 5.

1, 1A, 2,

So then we get to design 6.

received five.
been eliminated.

Design 7 received 6.

It

Design 8 had

Designs 10, 10A, 10B, and 12 had

all been eliminated.

So that is all of them.

So,

as you can tell by those scores, we made no
selection from any of the Pennsylvania obverses
provided to us.

So we'll be dealing with

Pennsylvania obverse again.
MR. JANSEN:

Pennsylvania reverses are

all basically the same design 5.
CHAIRPERSON MARKS:

Right.

first four had all been eliminated:
4.

Okay.

These

1, 2, 3, and

Those designs had all been eliminated.

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Erik is right.

These, 5, 5A, and 5B, are all

similar designs.

And so here are the scores.

They are all close.
received 14.

Five received 13.

5A

5B, which would be our selected

design, it just met the threshold at 16, so still
a very close vote with only the one, 5B, getting
to our threshold of above 50 percent of the vote.
And then 7, design 7, had 4.
eliminated.

7A had been

Eight received three votes.

Design 9

received 3.
MR. JANSEN:

This is the trick.

CHAIRPERSON MARKS:

Okay.

Erik tricked

me on this.
MR. JANSEN:

Yes, he did.

CHAIRPERSON MARKS:

Ten received 21.

So

if we look strictly at the reverse choices, I am
in error to say that 5B was the selected choice.
But it depends on what we want to use for obverses
and reverses.
out.

So we're going to have to sort this

So 10 actually was the highest vote among

these Pennsylvania reverse designs, again at 21.

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Designs 11, 12, and 13 had been eliminated prior.
MR. JANSEN:

It depends on how you

interpret the numbers.
CHAIRPERSON MARKS:
MR. JANSEN:

Right.

It appears that we end up

with two selection out of the pot of potential
reverses.
CHAIRPERSON MARKS:

So I'm going to ask

if we can have some slides put up on the screen.
We're going to have to sort some things out.
We'll start with New York.

New York obverse 1 and

1A, those were far and away the highest vote
tallies and, in fact, the only two that exceeded
the threshold.

That would indicate to me that the

Committee will need to stand by its indicated
recommendation of number 1, that one right there,
or switch it by a simple majority motion and vote
to 1A.
now.

So if there is a motion, I will take that
If not, 1 will stand.
DR. BUGEJA:
MR. MORAN:

I make a motion.
I move we change it to 1A.

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CHAIRPERSON MARKS:
MR. MORAN:

What's that?

I move we change it to 1A.

CHAIRPERSON MARKS:

Okay.

Mr. Moran

moves to change it to 1A.
DR. BUGEJA:

I second the motion.

CHAIRPERSON MARKS:

I will recognize

Michael Bugeja on the second.

Is there a

discussion on that before we vote?
DR. BUGEJA:

The reason why I like this

one more than the other is because the focus is on
the firefighter, not on the destruction.

It's

that simple.
CHAIRPERSON MARKS:

Does the motion

maker want to make a comment?
MR. MORAN:

Yes.

I voted, put 2 votes

on number 1, 3 on number 1A.

I need to resolve

that mistake.
CHAIRPERSON MARKS:

Okay.

Does anyone

else want to contribute to that before we call the
question?
MR. SCARINCI:

Yes.

I think 1 is

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superior.

I think that's a superior design.

So,

I mean, you know, yes, I appreciate that, you
know, we're looking at the building or the fireman
or the destruction, but, you know, this is more
balanced.

You know, I think it's more powerful;

you know, whereas, if you start to encroach on the
destruction, you know -- and, again, it's further
and further away as we get these images, which
right now we all know what these images are, but
100 years from now, are these images going to be
as they would be to anyone now?
vivid image.

This is a more

So I would strongly urge that we

stick with the majority selection.
MS. STEVENS-SOLLMAN:

I'd also like to

weigh in on this design because, as I said before,
the power is in the falling of the towers and aid
from the firefighter.

What I like about this

particular piece is the stairs.
narrow.

The stairs are

He's going up some dangerous place.

When

we look at this other design, 1A, the stairs
become almost as though he was going up to some

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courthouse or something.

And he's not being shown

as in a precarious place.

The stairs are just

too, too easy.
So I prefer number 1, as I did before.
And that's another reason.
MS. LANNIN:

The reason why I like

number 1 and voted for it was, again, what you
said about the stairs, but he's so in focus, but
the -MS. STEVENS-SOLLMAN:
MS. LANNIN:

Yes.

-- stairs are narrow enough

that he could be having a buddy come right after
him; whereas, in 1A, he really does look all
alone.
MS. STEVENS-SOLLMAN:
MS. LANNIN:

Okay?

All alone.
And we know that

many people lost their lives that day.
MS. STEVENS-SOLLMAN:
MS. LANNIN:

Yes.

So I like the idea that the

stairs are steep and that somebody could be
following right behind.

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MR. JANSEN:

Yes.

I would concur.

It's

all about the tightness of the stairway and the
desperation of getting through this small space to
get to this expansive disaster.

To me, there's no

comparison whatsoever in terms of the impact of
the two designs.
CHAIRPERSON MARKS:

Anyone else?

(No audible response.)
CHAIRPERSON MARKS:
your comments.

Thank everyone for

You personally changed my mind on

how we're going to vote.
MR. JANSEN:

Okay.

Well, then it's your fault

however this goes.
(Laughter.)
CHAIRPERSON MARKS:
the question.

So I'm going to call

I want to clarify before I do that

that number 1 right now is our recommendation.

If

this motion fails, it remains our recommendation.
If the motion passes, then 1A is our
recommendation.

Is everyone clear on that?

MS. LANNIN:

Yes.

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CHAIRPERSON MARKS:

Okay.

So all of

those in favor please raise your hand.
MS. LANNIN:

For 1?

CHAIRPERSON MARKS:
MR. JANSEN:

No.

For 1.
In favor of making 1A

the choice.
MR. SCARINCI:
MR. JANSEN:

Okay.
A yes vote makes that our

selection.
CHAIRPERSON MARKS:

Who wants 1A?

Raise

your hands.
(Show of hands.)
CHAIRPERSON MARKS:

Two.

All of those

opposed to the motion raise your hand.
(Show of hands.)
UNIDENTIFIED SPEAKER:

Deserters.

Deserters.
CHAIRPERSON MARKS:
of two to eight.

It looks like a vote

Motion fails.

Design 1 is our

recommendation.
Okay.

That takes us on to at this point

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New York reverse number 1.
MR. JANSEN:

Can we go to that?

Yes.

CHAIRPERSON MARKS:
recommended reverse.

That is our

Unless someone stops me, I'm

moving on to Virginia obverse.
MR. MORAN:

Well, I'm going to stop you.

CHAIRPERSON MARKS:
MR. MORAN:

Okay.

And I don't want to, but I

think if you do one, you've got to do all three.
We've got to do strong inscriptions for the other
two.
MR. JANSEN:
MR. MORAN:

Say again.
Don't we have the reverse of

the other two for Virginia and Pennsylvania?
MR. JANSEN:

We haven't gotten there

yet.
MR. MORAN:
there.

Yes, but we're going to get

I mean, we all know that's what that is.
MS. STEVENS-SOLLMAN:

Michael, you might

want to make a motion to since these were so close
--

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MR. MORAN:

Right.

MS. STEVENS-SOLLMAN:

-- as the last one

and this is the preferred reverse by the liaison
and by CFA, number 13, as opposed -MR. MORAN:

I understand.

MS. STEVENS-SOLLMAN:

Yes, but you could

-MR. MORAN:

All I'm trying to do is do

the same and get it over with.
CHAIRPERSON MARKS:
MR. SCARINCI:

Okay.

So wait a minute.

Are

you entertaining -- I mean, this is like kind of
all new that we're doing this.
UNIDENTIFIED SPEAKER:
MR. SCARINCI:

Yes.

So you are entertaining

the motion that we could not go with number 1, the
reverse, and, instead, go with the words, go with
number 13?
UNIDENTIFIED SPEAKER:

How close was the

vote?
MR. SCARINCI:

Is that --

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UNIDENTIFIED SPEAKER:
MR. MORAN:

For consistency.

For consistency.

MR. SCARINCI:

For consistency?

UNIDENTIFIED SPEAKER:
MR. SCARINCI:

Yes.

I mean, if you would

entertain a motion that we go with the words -MR. MORAN:

I'd prefer you make it.

I'll -MR. SCARINCI:

You know what?

I'll make

that motion if we're doing this.
CHAIRPERSON MARKS:

The motion is to

make all the reverses what?
MR. SCARINCI:

No, no, no.

I'm just

saying -UNIDENTIFIED SPEAKER:

With the text.

UNIDENTIFIED SPEAKER:

With the text.

MR. SCARINCI:

-- for this, we can go at

it one by one if you want, but -UNIDENTIFIED SPEAKER:

But this one

should be -MR. SCARINCI:

This one should be the

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text.
CHAIRPERSON MARKS:

And which number is

that?
UNIDENTIFIED SPEAKER:
MR. SCARINCI:

Thirteen.

This is number 13.

So

we're substituting that one -CHAIRPERSON MARKS:
MR. SCARINCI:

Can we put that, --

-- for number 13.

UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Yes.

-- 13, up on the

screen, please?
MR. SCARINCI:

I'm not so sure you

should have opened this door.
CHAIRPERSON MARKS:

So the motion is

made.
MR. URAM:

I'll second.

MR. SCARINCI:

I'll make the motion,

yes.
CHAIRPERSON MARKS:

And is it seconded

by Tom?
MR. URAM:

I will second it, yes.

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CHAIRPERSON MARKS:
I understand this.

So let me make sure

You're suggesting the motion,

whether you support it or not, that all three of
the medals, they are this reverse?
(Simultaneous conversation.)
CHAIRPERSON MARKS:

Oh, text?

(Simultaneous conversation.)
CHAIRPERSON MARKS:
understand now.

Okay.

Okay.

So

So the motion is to make reverse

13 for New York our recommended reverse.
MS. LANNIN:

Without the roses.

UNIDENTIFIED SPEAKER:

Oh, don't talk

about the roses.
(Simultaneous conversation.)
UNIDENTIFIED SPEAKER:

Get the text

first.
CHAIRPERSON MARKS:
what?

Okay.

You know

In the interest of time, I'm going to call

this question.
on this.

I think we all know where we stand

All those in favor of making reverse 13

the reverse of the New York Congressional Gold

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Medal raise your hand.
(Show of hands.)
CHAIRPERSON MARKS:

One, two, three,

four, five, six, seven, eight.

All those opposed?

(Show of hands.)
CHAIRPERSON MARKS:
Motion carries.

It's eight to two.

So we'll be recommending reverse

13 for the New York medal.
MR. JANSEN:

So that replaces --

CHAIRPERSON MARKS:
MR. JANSEN:
number 1.

Number 1.

-- the higher vote getter,

Right?
CHAIRPERSON MARKS:

Yes.

Number 13 was

our runner-up.
MR. JANSEN:

Yes, yes.

I was just

getting back in -- so that replaces design number
1.
CHAIRPERSON MARKS:

Yes.

Okay.

Moving

on to Virginia, design number 8 on the obverses
are -MR. JANSEN:

A point of order, Mr.

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Chairman.

Can you back up to the vote we just

selected because I think the text is incorrect?

I

do not believe you want to say "MAY THEIR MEMORY
INSPIRE AN END."

I believe it is our memory of

them.
MS. LANNIN:

May the memory of them

MR. JANSEN:

May the memory of them?

inspire?
MR. SCARINCI:

Can we leave that to the

staff to do that?
MR. JANSEN:

I am only raising it

because it doesn't say what you think it says.
CHAIRPERSON MARKS:

It reminds me of the

wise words of a good friend, Heidi, -MR. JANSEN:

Which were?

CHAIRPERSON MARKS:

-- when she said

that when we get into text, then we start debating
what it should be.

So just sorry.

I couldn't

resist that little dig.
MR. JANSEN:

I'm merely calling it to

the Committee's attention.

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CHAIRPERSON MARKS:

Here we are.

So I'm

not hearing a motion, and I'm moving on.
Virginia obverse.

Number 8 received 17.

And the next closest was 1A with 8.

So we're

moving on to the Virginia reverse.
MS. WASTWEEK:

I'd like to make a motion

about that.
CHAIRPERSON MARKS:
MS. WASTWEEK:

About what?

Number 8.

CHAIRPERSON MARKS:

Okay.

We're back on

Virginia obverse 8.
MS. WASTWEEK:

Because this design was

intended to be paired with reverse 7 but that will
not be our recommendation, the symbology is off.
The stars here represent those inside the
Pentagon.

And the reverse has stripes around it

to represent those on the plane.

So my motion is

to include these rays from reverse 7 onto obverse
8 to include all of them.
CHAIRPERSON MARKS:

Okay.

Is that your

motion?

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MS. WASTWEEK:
MR. JANSEN:

That is my motion.
You're going to have to

help me with that again.
CHAIRPERSON MARKS:
have a second?

Okay.

I'll second it.

Wait.

Do we

The idea is to

make sure that we memorialize all of the victims
by including the rays on the outer perimeter as
the paired design had intended to do.
MS. WASTWEEK:

Just the rays so that we

have our -CHAIRPERSON MARKS:
go to number 8.

No.

Obverse 8.

CHAIRPERSON MARKS:

-- obverse 8.

That's way too much.

CHAIRPERSON MARKS:
we go.

And if we

It's --

MS. WASTWEEK:
MR. MORAN:

The rays?

Obverse 8.

So there

Imagine those rays around the Pentagon.
UNIDENTIFIED SPEAKER:

That gets very

busy.
MS. STEVENS-SOLLMAN:
Excuse me.

Awful, awful.

Awful, awful.

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UNIDENTIFIED SPEAKER:
MS. STEVENS-SOLLMAN:

Awful, awful.
Don't do it.

UNIDENTIFIED SPEAKER:
MS. STEVENS-SOLLMAN:

Awful.
You know, this

gets us into redesigning this medal.

When you put

that much information on there, I think that
somehow if you put more stars into her Pentagon
shape, that would be agreeable.
you can't put rays and stars.

But I think that
It just will become

a terrible medal.
UNIDENTIFIED SPEAKER:
bars.

Okay.

They're

They're not rays.
MS. WASTWEEK:

subtle.

They could be very

They don't have to be -MS. STEVENS-SOLLMAN:

Still.

Still we

need the clean side.
CHAIRPERSON MARKS:
this out.
saying.

I will maybe help

And I see the wisdom of what Jeanne is
Sorry, Heidi.
MS. STEVENS-SOLLMAN:
CHAIRPERSON MARKS:

Sorry.
I'm going to

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withdraw my second.

Is there another second to

replace mine?
MS. WASTWEEK:

Does anyone else have a

suggestion on how to solve the symbology?
MS. LANNIN:

How about just the stars

equaling the number of people?
MS. WASTWEEK:

Yes.

MS. STEVENS-SOLLMAN:

Just more stars

and smaller.
MS. WASTWEEK:

Can't we do more stars?

I mean, how many stars are we missing in there?
MS. LANNIN:

You're missing 11 stars.

Put 11 more stars in there.
MS. SULLIVAN:
MS. LANNIN:
MS. STAFFORD:
MS. LANNIN:

Fifty-nine.
Fifty-nine more?
Fifty-nine more stars.
Okay.

MS. WASTWEEK:

It's a lot of stars.

MR. SCARINCI:

Was anything close to

this one?
UNIDENTIFIED SPEAKER:

No.

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MR. SCARINCI:

I mean, do people really

like this one?
UNIDENTIFIED SPEAKER:
MS. WASTWEEK:
MR. URAM:

No.

I love this one.

Unless you took the stars out

and put the rays in place of the stars.
MS. STEVENS-SOLLMAN:
don't have enough.
MR. URAM:

Then you

You don't have enough.
Oh, you don't?

CHAIRPERSON MARKS:
issue here, folks.

No.

Oh.

I think we have an

We need to resolve it.

I

can't see us going forward with this without the
obverse as it's intended.
(Simultaneous conversation.)
MR. EVERHART:

Gary, Gary?

CHAIRPERSON MARKS:
MR. EVERHART:

Yes?

We have an option here.

You take reverse number 8 and put how many stars
now?
MS. STEVENS-SOLLMAN:
UNIDENTIFIED SPEAKER:

Fifty-nine more.
Smaller ones.

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MR. EVERHART:

Instead of 184, just put

59 on there.
DR. BUGEJA:

Yes.

That's actually nice.

And that would be better for a ready design.
There you go.
UNIDENTIFIED SPEAKER:
DR. BUGEJA:

There you go.

easier to do mechanically.
has meaning now.

That's nice.
That will be

That's nice.

The edge

The edge has meaning.

CHAIRPERSON MARKS:

Okay.

MS. STEVENS-SOLLMAN:

But, now, wait.

Are you leaving the stars on the obverse?
DR. BUGEJA:

Yes, yes.

MS. STEVENS-SOLLMAN:

Okay.

So you have

stars?
MR. EVERHART:

The obverse has --

MS. STEVENS-SOLLMAN:
reverse has all the stars.

And then the

Is that correct?

(Simultaneous conversation.)
MS. STEVENS-SOLLMAN:
UNIDENTIFIED SPEAKER:

That's 59?
No.

That's 184.

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(Simultaneous conversation.)
CHAIRPERSON MARKS:

The designs together

get us to where we need to be.
MS. STEVENS-SOLLMAN:
MS. WASTWEEK:

Thank you.

I think that is a great

suggestion.
CHAIRPERSON MARKS:
MR. JANSEN:

Okay.

So read me the motion,

please.
MS. WASTWEEK:

I'll change my motion.

CHAIRPERSON MARKS:
second.

I withdrew my

So there is no motion.
MR. JANSEN:

point.

Yes.

There is no motion at this

Heidi, do you want to restate a new

motion?
MS. WASTWEEK:

I will make a new motion

to change the number of stars around reverse
number 8 -DR. BUGEJA:
MS. WASTWEEK:

Yes.
-- to -- how many was it,

Don?

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MR. EVERHART:

Fifty-nine, is it?

MS. WASTWEEK:

-- 59, to the appropriate

number.
MR. JANSEN:

What's the magic in 59?

UNIDENTIFIED SPEAKER:

That's the number

of people that were -MS. WASTWEEK:

The number of victims on

the plane.
CHAIRPERSON MARKS:
that.

Okay.

I'm the second of that.
MS. STEVENS-SOLLMAN:

correct number?

I'll second

Is there -And this is the

There are 184 stars there?

MS. LAYCHAK:

One hundred twenty-five in

the Pentagon and 59 in the plane.
MS. STEVENS-SOLLMAN:

Okay.

So then we

have enough stars.
CHAIRPERSON MARKS:

Yes.

We are where

we need to be.
MS. STEVENS-SOLLMAN:
CHAIRPERSON MARKS:
to call the question.

Okay.
Okay.

So I'm going

This gets us to where we

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need to be with the pairing of these two designs.
MS. STEVENS-SOLLMAN:
CHAIRPERSON MARKS:

Okay.
So all those in

favor of the motion with the appropriate number of
stars on the reverse -MR. JANSEN:

Fifty-nine.

CHAIRPERSON MARKS:

-- raise your hand.

(Show of hands.)
CHAIRPERSON MARKS:

One, two, there,

four, five, six, seven, eight, nine.
is not in the room.

And Donald

So the motion carries nine to

zero unanimously.
DR. BUGEJA:

Mr. Chairman, I would just

say that if the Mint decides to make those stars
on the reverse edge, it's up to the Mint.
CHAIRPERSON MARKS:

I'm sorry.

What's

that?
DR. BUGEJA:

I mentioned at least three

times that the stars on here would make nice edge
lettering on the reverse and that if the Mint
decides to go in that direction, that we condone

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that, but it's up to the Mint.
MR. ANTONUCCI:

That would never happen

in time for this.
DR. BUGEJA:

Can't?

CHAIRPERSON MARKS:
DR. BUGEJA:

Okay.
Okay.

That's fine.

CHAIRPERSON MARKS:

That completes the

Pennsylvania -- where are we?
(Simultaneous conversation.)
CHAIRPERSON MARKS:
Pennsylvania.

Now we're on

We did not select an obverse.

So

let's look at -- can we look at reverse 5B and
then put up 10, reverse 10?
MR. HOGE:

Before we leave Virginia,

before you go, I'd like to make a motion that we
consider making changes on the woman on the
obverse in order to make it identifiable as a
figure of liberty or America, instead of just a
woman praying.
CHAIRPERSON MARKS:

Okay.

Is there a

second to that motion?

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MS. STEVENS-SOLLMAN:

I'm sorry?

I

didn't hear the motion.
CHAIRPERSON MARKS:
MS. STEVENS-SOLLMAN:

Okay.
What was the

motion?
CHAIRPERSON MARKS:

The motion is to

make liberty there look more like liberty or
America.

And in Robert's -MR. HOGE:

It's a woman.

CHAIRPERSON MARKS:
MR. HOGE:

-- judgment, --

It's a woman.

It's a

classical woman.
CHAIRPERSON MARKS:

-- he believes

that's simply a woman.
CHAIRPERSON MARKS:

So the motion would

be to make that more look like liberty or America.
So is there a second?
MS. LANNIN:

I second.

CHAIRPERSON MARKS:
seconded.

Okay.

It's

Does everyone understand that motion?
MS. LANNIN:

Eight, classical design.

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MR. MORAN:

A headband on there with

liberty?
CHAIRPERSON MARKS:

Well, I think we'll

leave that up to the artist to interpret what that
means, but we all understand the motion, I think.
Okay.

So all of those in favor of the motion?
MS. WASTWEEK:

I don't fully understand.

Are you talking about changing body gesture or -MR. HOGE:

No, no.

Just add attributes

to make it so that it would be recognizable as
America or as liberty or freedom.
MS. WASTWEEK:

Would you mind stating

what those would be?
MR. HOGE:
it to the Mint.

Well, I would like to leave

I mean, I could make suggestions.

UNIDENTIFIED SPEAKER:

I think they

understand.
MR. HOGE:

Adding the seal of the cap of

liberty, which is a visual symbol of it.
MS. WASTWEEK:

Don, do you have any

suggestions or comments?

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MR. EVERHART:

I'm fine with it the way

it is.
(Laughter.)
CHAIRPERSON MARKS:
this thing out.

Okay.

Let's vote

All those in favor of Robert's

motion please raise your hand.
(Show of hands.)
CHAIRPERSON MARKS:
four.

One, two, three,

All those opposed raise your hand.
(Show of hands.)
CHAIRPERSON MARKS:

four, five.

One, two, three,

The motion fails four to five.

MS. STEVENS-SOLLMAN:

The only

suggestion I would make is that her arms be more
feminine.
UNIDENTIFIED SPEAKER:

They are kind of

big.
MS. STEVENS-SOLLMAN:

But she's quite a

farmer.
MR. MORAN:

She might have gotten the

arms of seated liberty.

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UNIDENTIFIED SPEAKER:

Gary, we're

offhand.
CHAIRPERSON MARKS:

Well, yes.

Let's be

careful we don't design by Committee here.

We're

kind of on the edge right now.
I am going to move us on to
Pennsylvania.
please?

Can we look at 5B, reverse 5B,

That was the second highest vote getter,

if you will.

And then 10 was actually the

highest, 10.

So what do you want to do with that,

folks?

I think based on what the Committee has

done to this point, that would be your reverse.
can we have a motion to clarify 5B.
MR. MORAN:

Yes.

Right.

You need to

get rid of "SEPTEMBER 11TH."
CHAIRPERSON MARKS:

Okay.

Do we have a

motion to clarify that 5B is the intended
recommendation for obverse?
MS. LANNIN:

Minus "SEPTEMBER 11TH."

Isn't that what they wanted off?
UNIDENTIFIED SPEAKER:

Yes.

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CHAIRPERSON MARKS:
of the motion.

I can make that part

Is someone going to make that

motion?
MR. MORAN:

I'll make a motion that we

set 5B as the obverse, remove "SEPTEMBER 11TH,
20O1" from the inscription.
MR. JANSEN:

Can you put the image of 5B

up for me, please?
MS. LANNIN:

It's right there.

MR. JANSEN:

Oh, thank you.

I looked

away, and then I was.
(Simultaneous conversation.)
MR. JANSEN:

Adopt design 5B to be used

as obverse with removal of the date in the 7:00 to
9:00 o'clock position.
CHAIRPERSON MARKS:

Who is the motion

maker?
MR. MORAN:

Me.

CHAIRPERSON MARKS:

Mike Moran?

And who

is the second?
MS. STEVENS-SOLLMAN:

Second.

I'll

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second.
CHAIRPERSON MARKS:
second.

Okay.

Jeanne is the

All those in favor please raise

your hand.
(Show of hands.)
CHAIRPERSON MARKS:
Okay.

It's unanimous, ten.

passes.

It looks like nine.
So that motion

I think that completes -MR. URAM:

more thing?

Gary, could we go back to one

Since we ended up with all three

having the words, back to Mary's comment on the
rose, it's the only one that has something in the
wording that breaks it up, reverse 13 on New York?
CHAIRPERSON MARKS:

Can you bring that

image up, please?
MR. URAM:
has it.

And that is the only one that

Maybe something else could be used in

place of that or nothing.
MS. STAFFORD:

May I?

The CFA agreed

that there was one too many roses.
like either rose to be removed.

They would

The stakeholder,

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the liaison -- well, connection to the rose
because the roses are used at the memorial day by
day.

The birthday of anyone who lost their life

that day is marked with a white rose.

You can see

on any given day that -MS. LANNIN:
MR. URAM:

Okay.

I understand that.

And my thought would be maybe

the top one.
MS. LANNIN:

The top one should go,

then.
MR. URAM:

Right.

UNIDENTIFIED SPEAKER:

Yes, the top one,

definitely.
CHAIRPERSON MARKS:

Are you making a

motion?
MS. LANNIN:
MR. URAM:
MS. LANNIN:

I move -Mary can do -I'm making a motion that

the top rose be removed from reverse.
UNIDENTIFIED SPEAKER:

And you're

recommending it be removed?

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MS. LANNIN:

I recommend that.

CHAIRPERSON MARKS:

Okay.

So is there a

second?
MR. URAM:

Tom Uram, yes.

CHAIRPERSON MARKS:
MR. SCARINCI:

Can I ask a question --

CHAIRPERSON MARKS:
MR. SCARINCI:

Tom is the second.
Go ahead.

-- on the motion?

The

stakeholders, this is the one where they all agree
on the obverse.

This is the one everybody agrees;

right?
MS. LANNIN:

Yes, yes.

MS. STAFFORD:

No.

MR. SCARINCI:

Oh, this is New York.

they don't all agree.

This is New York.
So

So this concept of two

roses, are people passionate about it?
MS. STAFFORD:

No.

I know that the

roses were included in the design that they
reviewed.
understand.

The CFA is the one that said, "I
Keep one, but get rid of one or the

other."

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MR. SCARINCI:

Got it.

Got it.

Okay.

MS. WASTWEEK:

I would maybe suggest not

dictating which one to remove.
MR. URAM:

It's just nice.

stem means a little bit more.

The long

And you can have

some meaning to the -CHAIRPERSON MARKS:

Mary, what is your

motion?
MS. LANNIN:

My motion is that we remove

the top rose.
CHAIRPERSON MARKS:
motion on the table:

Okay.

That is the

remove the top rose.

MR. EVERHART:

Gary?

Gary?

One thing.

If you remove that top rose, you need to also
probably remove that exergual at the top, that
horizontal line.
MS. LANNIN:

Okay.

I amend that to

remove the top rose and the top exergual line.
MR. EVERHART:

Yes.

CHAIRPERSON MARKS:

We concur.
Okay.

The motion is

to remove the top rose and exergual line.

All

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those in favor please raise your hand.
(Show of hands.)
CHAIRPERSON MARKS:

One, two, three,

four, five, six, seven.
CHAIRPERSON MARKS:

All those opposed

raise your hand.
(Show of hands.)
CHAIRPERSON MARKS:
abstention.

Motion is 7:2:1.

One, two.

Two.

One

It passes.

Am I correct that we've completed our
recommendations?

I think we have.

MS. STAFFORD:
One more thing.

Mr. Chairman, I'm sorry.

Reverse 5B is the recommended

obverse for Pennsylvania.

I just wanted to note

that the words "ACT OF CONGRESS" appear in that
design.
CHAIRPERSON MARKS:

Can we put that up

on the screen?
MS. STAFFORD:

And the other obverses

that you recommended today for the other two sites
do not have that.

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CHAIRPERSON MARKS:

Thank you for that.

This is our -MS. LANNIN:
MS. STAFFORD:
MS. LANNIN:

No.
Pennsylvania.
This is Pennsylvania.

UNIDENTIFIED SPEAKER:

I would be in an

alternate universe, then.
CHAIRPERSON MARKS:
Pennsylvania.

We can go to

What is it?

MS. LANNIN:

Pennsylvania 5B.

UNIDENTIFIED SPEAKER:

Reverse 5B,

Pennsylvania.
CHAIRPERSON MARKS:

Can we put

Pennsylvania reverse 5B up on the screen, please?
(Pause.)
CHAIRPERSON MARKS:
just for a moment.

We'll pause here

You know, while we're trying

to figure that out, can I ask each member to, if
we can, go to Pennsylvania reverse 5B in your
materials?

Okay.

This is the one where we

removed --

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UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:
There it is.

There it is.

-- removed the date.

So do we also want "ACT OF CONGRESS"

removed?
UNIDENTIFIED SPEAKER:

No.

UNIDENTIFIED SPEAKER:

Yes.

MR. JANSEN:

That's not the way the CFA

passed it.
CHAIRPERSON MARKS:

That is not the

question before us.
MR. JANSEN:

I appreciate it.

CHAIRPERSON MARKS:

We already removed

"SEPTEMBER 11TH, 2001."
MR. EVERHART:

So we need that on that.

CHAIRPERSON MARKS:

The question is this

is the only medal now of the three that will carry
the inscription "ACT OF CONGRESS 2011."

Does the

Committee care to make a motion in that regard?
MR. JANSEN:

Greg, is the Act of

Congress 2011 a statutory -MR. WEINMAN:

No, it is not.

It's an

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optional inscription.

It's traditional, but it's

optional.
MS. STAFFORD:

It's been practiced, but

I believe some Committee members mentioned that -CHAIRPERSON MARKS:

You know what?

In

honor of everything I said on my own remarks, I'm
going to make a motion that we eliminate "ACT OF
CONGRESS 2011."
MS. WASTWEEK:

I'll second that.

CHAIRPERSON MARKS:

Okay.

It's been

moved and seconded to remove those words.

All of

those in favor please raise your hand.
(Show of hands.)
CHAIRPERSON MARKS:
that motion carries.
MS. LANNIN:

It's unanimous.

So

Okay.
Gary, are you going to then

put a shield of honor forever on the bottom to
balance it?
CHAIRPERSON MARKS:
that's some discretion.
MS. LANNIN:

You know, I think

We'll just --

Leave it on.

Do whatever.

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UNIDENTIFIED SPEAKER:

That's six of

one, half a dozen.
MS. LANNIN:

Do whatever.

UNIDENTIFIED SPEAKER:

Yes.

I don't

know that that would improve the design any.
MS. LANNIN:

Okay.

CHAIRPERSON MARKS:

Okay.
We'll let that ride.

UNIDENTIFIED SPEAKER:

You know what?

If anything, the grass with the rock could be
extended like a little more like an -MS. LANNIN:

Okay.

UNIDENTIFIED SPEAKER:
MS. LANNIN:
MR. URAM:

Yes, yes.

All right.

Fine.

Fine.

A few more rocks on there.

CHAIRPERSON MARKS:

Yes.

We know the

artists will use their discretion to make this the
best possible design.
MS. STAFFORD:

Mr. Chairman, if you

could just bear with me one more moment?

The

Virginia reverse, there was some preferred text by
our liaisons that was read.

Might there be a

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motion to consider replacing the text as seen in
the sign, the preferred text?
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Do we need to?

Is that it?

Can we

put that design up, please?
MS. STAFFORD:

That's the text in the

design that we read that they had -UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Revised.

Can you read that

again since you're bringing it up?
MS. STAFFORD:

I'm sorry.

They've left,

and I don't have that with me.
MS. WASTWEEK:

Can we ask our court

reporter -CHAIRPERSON MARKS:

It'll be in the

record somewhere.
MS. WASTWEEK:

It's in the record, and

we can -CHAIRPERSON MARKS:
MS. WASTWEEK:

Okay.

Could we leave that to

the discretion, also make a motion to leave the

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wording to the discretion of the -CHAIRPERSON MARKS:

Yes.

I don't think

we need a motion for that.
MS. WASTWEEK:

Okay.

CHAIRPERSON MARKS:

It's on the record,

our discussion right here.
MS. WASTWEEK:

Okay.

CHAIRPERSON MARKS:

So be it known that

it is our feeling that the artists should use
their discretion as far as the text.
MS. WASTWEEK:

Okay.

CHAIRPERSON MARKS:
and tell me if I'm wrong.
to move on.
Dimes.

Thank you.
Okay.

I believe --

I believe we're ready

We're going to go back to March of

And I want to thank everyone again who

participated in the 9/11 medal discussion.
And we are now moving again into March
of Dimes.

April, you had given your report.
MS. STAFFORD:

made comments.

Yes.

And our liaisons

And I believe it's over to you

now.

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CHAIRPERSON MARKS:

To us now.

UNIDENTIFIED SPEAKER:

Yes.

It's up to

us to eliminate, I think.
CHAIRPERSON MARKS:

Okay.

Yes.

We're

going to go through the culling process here
again.

And so if I could get our screen operator

to bring up the obverse designs?
again, you know the drill.

So, members,

We're going to

indicate those that we want to keep in.
hear nothing, it goes out.
Okay.

Obverse 1.

And if I

Let me get to those.

Is there interest in obverse 1?

(No audible response.)
CHAIRPERSON MARKS:

We're removing that

design.
Obverse 2?
(No audible response.)
CHAIRPERSON MARKS:

Setting two aside.

Three?
MS. LANNIN:

Yes.

CHAIRPERSON MARKS:

Okay.

Three is in.

Four?

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(No audible response.)
CHAIRPERSON MARKS:

Removing 4.

Five?

(No audible response.)
CHAIRPERSON MARKS:
MR. MORAN:

Yes to 5.

CHAIRPERSON MARKS:
MR. MORAN:

You want 5?

I'm sorry.

CHAIRPERSON MARKS:
it out.

Eliminating 5.

Okay.

I already X'd

Number 6?
(Chorus of "Yes.")
CHAIRPERSON MARKS:

Seven?

No interest

in 7?
(No audible response.)
CHAIRPERSON MARKS:
one.

Eliminating that

Eight, which I believe was a preference.
MR. SCARINCI:

Yes.

Nine is a

Yes.

Eight was a

preference.
MS. WASTWEEK:
preference.
UNIDENTIFIED SPEAKER:

Eight and 9 are

preferences.

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CHAIRPERSON MARKS:

Yes, I know.

I'm

collecting my own thoughts about this design.
all depends on the parent.
in for now.
that one in.

It

I'm going to keep it

Nine is a preference.

So we'll keep

Ten?

(No audible response.)
CHAIRPERSON MARKS:

Setting 10 aside.

Eleven?
UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:

Yes?

UNIDENTIFIED SPEAKER:
CHAIRPERSON MARKS:
preference.
a preference.

Yes.
Twelve?

Yes.

Yes?

Thirteen is a

Fourteen is a preference.

Fifteen is

Sixteen?

(No audible response.)
CHAIRPERSON MARKS:
aside.

Setting that one

Seventeen?
(No audible response.)
CHAIRPERSON MARKS:

Setting that aside.

Eighteen?
(No audible response.)

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CHAIRPERSON MARKS:
one.

We'll eliminate that

Nineteen?
(No audible response.)
CHAIRPERSON MARKS:

19.

We're eliminating

Twenty?
(No audible response.)
CHAIRPERSON MARKS:

Eliminating 20.

Twenty-one?
(No audible response.)
CHAIRPERSON MARKS:

Setting 21 aside.

And 22?
(No audible response.)
CHAIRPERSON MARKS:

Setting that aside.

So quickly for the record, we have remaining
numbers 3, 5.
MR. MORAN:

Forget 5.

I was on the

wrong page.
CHAIRPERSON MARKS:

Forget 5?

We're forgetting 5, everyone.
again.

Okay.

So I'll start over

We have remaining designs 3, 6, 8, 9, 11,

12, 13, 14, 15, and that's it.

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Moving on to reverses, is there interest
in 1?
(No audible response.)
CHAIRPERSON MARKS:
Interest in 2?

Yes.

Setting that aside.

I'll keep that one in for

now.
MS. LANNIN:

I'm sorry.

MR. JANSEN:

I agree.

CHAIRPERSON MARKS:
and yes for 2.

Yes for 1.
Yes for 1.

Okay.

Yes for 1,

How about number 3?

(No audible response.)
CHAIRPERSON MARKS:

No takers on 3?

Four?
MS. WASTWEEK:

Yes.

CHAIRPERSON MARKS:

Yes?

Five?

(No audible response.)
CHAIRPERSON MARKS:

Setting five aside.

Six?
(No audible response.)
CHAIRPERSON MARKS:
aside also.

We'll set that one

Seven is an indicated design already.

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Eight?
(No audible response.)
CHAIRPERSON MARKS:

Eliminating 8.

Nine?
(No audible response.)
CHAIRPERSON MARKS:

Setting 9 aside.

Ten?
(No audible response.)
CHAIRPERSON MARKS:

Set that aside.

Eleven is already a preference.

Twelve?

(No audible response.)
CHAIRPERSON MARKS:

Set 12 aside.

Thirteen?
(No audible response.)
CHAIRPERSON MARKS:

Set that one aside.

Fourteen?
(No audible response.)
CHAIRPERSON MARKS:

Set that one aside.

Fifteen?
(No audible response.)
CHAIRPERSON MARKS:

No further

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consideration for 15.

Sixteen?

DR. BUGEJA:

Yes.

CHAIRPERSON MARKS:

Seventeen?

(No audible response.)
CHAIRPERSON MARKS:
eliminate 17.

Okay.

We'll

Eighteen?

(No audible response.)
CHAIRPERSON MARKS:

We'll eliminate 18.

So quickly, we have remaining number 1, 2, 4, 7,
11, 16, and that's it.

Okay.

Is there someone who wishes to start
this?

Anyone?
(No audible response.)
CHAIRPERSON MARKS:

pick someone, then.
MR. URAM:
Chairman.

I'll just randomly

Let's start with Tom.
Okay, Gary.

Thank you, Mr.

In looking at the obverse designs and

the number -- and they all certainly speak to what
the March of Dimes is about and stronger and
healthier.

And that's what I do like about the

wording in regards to number 3 and that what I

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don't really want to see happen is victory over
polio, which is mentioned in some of the obverse
and reverse ones.

As a past district governor of

Rotary, we have raised a lot, a lot of money, for
polio worldwide.

And, unfortunately, there are

still countries where the victory isn't set.

As a

matter of fact, there were about 200 outbreaks
last month in regards to polio.

So while it has

been resolved here in the United States, there are
many other countries, well, basically only like
three or four countries but very difficult
countries, where polio still needs to fight the
fight that we need to do, as March of Dimes has
done.

So I would kind of lean towards any of the

designs that have that on there just be
considerate of the fact that yes, we did that.
But I'll tell you what.
Salk and Roosevelt on number 15.

I like Jonas
I think that's a

really -- that can tell a good story right there.
And with some of the obverse designs, you could
then capture the mission and state that through

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maybe number 7 or 11 on the reverse.

So I want

certainly the March of Dimes story out there.

And

I would lean towards number 15 on that and then
something that would tell more of a story of a
healthier future for children and so forth, like
reverse number 1 also, I think reverse number 1,
you know, a young group of people out there who it
affected, and it also talks about a healthier
future for all children.

So I do like reverse

number 1 teamed up with obverse 15.
Thank you, Mr. Chair.
CHAIRPERSON MARKS:

Thank you.

I don't really want to put pressure on
all of us, but I was just handed a note that says
that we need to surrender this room at 6:00 p.m.
So whatever we do, we're done.
MR. MORAN:

Is the bar open at 6:00?

(Laughter.)
CHAIRPERSON MARKS:

So we'll move on to

Robert.
MR. HOGE:

I don't have a strong

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preference on these.

I do agree with the idea of

combining the portraits of Jonas Salk and Franklin
Roosevelt.

I think, that we might want a little

older version of Roosevelt and maybe a little
younger version of Salk as they look like they're
juxtaposing weird times in their lives together
there, which is kind of strange.
version of Roosevelt.

This is a young

I think we should show him

a little older.
CHAIRPERSON MARKS:
MR. MORAN:

Okay.

I can just smell the beer.

I'm supporting 14 along with CFA.
get Roosevelt with a dime.
it was the campaign.

You get the fact that

It was the March of Dimes.

You get a Salk on there.
of him.

You

It's the right portrait

And I think it goes particularly well

with number 7 on the reverse.
beautiful image.

I think that's a

There's a mother and child.

I'm tired of hearing myself talk.
done.
CHAIRPERSON MARKS:

Heidi?

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MS. WASTWEEK:

For the obverses, I was

really blown away with the designs 11, 12, 13, and
14, which are all variations.
pressed to pick a favorite.

And I'm hard
I think they're all

fantastic, would love any of those to be chosen.
They're very artistic.

And they tell the story of

the history of the organization more than the
other designs.
The reverse, I want to call out reverse
number 4.

I just want to say I really appreciate

seeing ethnic diversity in this piece.

The only

time that we typically see ethnic diversity is
when that is the subject matter.
choice, and I really love that.

But here it's a
I also like

reverse 7 as well.
Reverse 11, the anatomy is not quite
working for me.

The baby's downward arm, I can't

tell if that's on the other side of this adult
hand, and the thumb of the adult hand looks too
small.

I just can't get behind the technical part

of this design.

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Design number 16 was a preference, but
to me, it's just simply not an attractive design.
I think we can tell the story better with 7 or 4.
That's it.
CHAIRPERSON MARKS:
Heidi.

Okay.

I'll make it real simple.

Thank you,
It seems to me

the ideal coin for this commemorative would be one
that has Dr. Salk on it, it would have Roosevelt
with some portrayal of the March of Dimes -- and I
think you literally get that with obverse 14 -and also giving honor to the subject of March of
Dimes.

And that's the baby and the mother on

reverse 7.

If I can get that image, either on the

obverse or reverse, I'm a happy guy.
love that design.

I absolutely

And the reverse in this case

bears the March of Dimes name.

So it's clear what

the coin is about if you missed it on the obverse.
I like the obverse from the idea that we've got
four dimes there or five, actually, all stacked up
kind of if an interesting way, different sizes,
suggests emblematically the idea of a March of

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Dimes.

So I think obverse 14 paired with reverse

7 is absolutely the way to go.
That's all.

Erik?

MS. LANNIN:

Okay.

CHAIRPERSON MARKS:

Did you --

MS. LANNIN:

Oh, do you want to talk?

MR. JANSEN:

Go.

MS. LANNIN:

Okay.

I liked the obverse

on number 3 because it showed sort of a generic
child, which is also true on number 1.

I

understand what we're saying about we very rarely
show other ethnic backgrounds.
child.

And 1 can be any

I think 3, there's a possibility for that.

I also like the obverse of Roosevelt and Salk.
On the reverse, I'm kind of going for
number 1, "a healthier future for all children,"
because it's a number of children.

It can be any

of them.
So that's that.
CHAIRPERSON MARKS:

Okay.

Erik, did you

want to contribute your thought before coming back

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to you?
MS. LANNIN:

He's mad.

MR. JANSEN:

I'll pass for now.

CHAIRPERSON MARKS:

Okay.

MS. STEVENS-SOLLMAN:
very difficult to choose.

Okay.

Jeanne?
This is

There are a lot of very

wonderful ideas or concepts for this coin.

But in

this case, we are going down to a dollar size
coin.

In our last group of designs, we were

doing, you know, a medal, which was bigger.

And

so we could have more information on that surface.
Therefore, I would choose something more simple.
If we choose number 14, it's just too much
information.

It's not a storyboard, but there's a

lot of information in all of those little -correct me if I am wrong, Don.

By the time we get

to that fifth little dime, it's going to not be a
dime.

It's going to be a spot.

So I sort of

don't think I'm wanting to do something like that.
Number 15, which does have Roosevelt and
Salk on there, it is classic, very classic.

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reverse, I can go with number 1 or number 7, but I
love number 1 because it is a very contemporary
design.

And I think it would look very great on a

very small surface.

And when we get to number 7,

where there is a lot of detail, it is a very
beautifully illustrated image of a mother and
child.

I think we're going to lose some of that.
So that's all I have to say.
CHAIRPERSON MARKS:
MR. SCARINCI:

Donald?

I keep hoping that you're

going to tell me that in the manufacturing
process, one of these designs is going to have a
dime, you know, the specially minted dime that's
inserted and pops out -MR. EVERHART:

Not telling you that.

MR. ANTONUCCI:
MR. SCARINCI:

Not telling you that.
-- because if you could

tell me that, I'd think they get 100 percent of
the surcharge.

All right?

DR. BUGEJA:
MR. SCARINCI:

Yes.
I think that would be

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another baseball commemorative.
MR. ANTONUCCI:

I wanted to make sure.

Jeanne, one of the things I tried to do here when
I created these -MS. STEVENS-SOLLMAN:
MR. ANTONUCCI:

Right.

-- this is the size coin

we're talking about here, the Salk.
you an idea of the exact size.

That gives

I don't know that

the dimes won't work.
MS. STEVENS-SOLLMAN:

Oh, you think the

dimes will work?
MR. ANTONUCCI:

I think we can make them

work.
MS. STEVENS-SOLLMAN:

So would the dimes

be more like what is on the platinum Liberty with
the -MR. ANTONUCCI:

Yes, sort of that

direction.
MS. STEVENS-SOLLMAN:

So it would be

that direction.
MR. ANTONUCCI:

Don could adjust those

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as he needs to make them work for all the -MS. STAFFORD:

For what it is worth,

both our liaison as well as the Commission of Fine
Arts actually recommended that if that design,
that particular design, were to be considered,
that they suggested taking out those extraneous
dimes, just for the art, really.
MR. SCARINCI:

Okay.

MS. STEVENS-SOLLMAN:

Yes, if you took

out even just one.
MR. SCARINCI:

Anyway, if we're not

going to have a pull-out dime, then, you know, my
inclination -- I mean, since I would prefer to err
on the side of not taking responsibility if this
thing doesn't sell well, you know, I think if the
liaison groups like 13, 14, and 15, you know, I
could certainly live with 15.

I would probably go

with 13 because, you know, you get the little
helix in there, you get the dime reproduction.
And I generally don't like seeing yet another
portrait of a president who has got, you know,

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probably next to the Lincoln cent, you know, more
images of himself out there than any other
president maybe other than George Washington and
Lincoln.

So, you know, of course, I don't object

to that.
He was a great democrat.
won't object to that.

So, I mean, I

But I think I would be

inclined to go with 13, 14, or 15 simply because
the liaison committee likes it and I don't want to
take responsibility.
I would also, then, for the same
rationale since we're not going to have the
mother-child thing anywhere -- you know, if they
like number 7, I would probably go with that.

I

could understand why people, you know, like number
1.

The problem is how you, where you pair number

1.
I want to give an honorable mention.

I

mean, as neat designs go, I really like number 6.
I think you probably make that look really cool,
you know, when it would come out.

I think it

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would come out really cool with the face of the
child, you know, really punched out, you know.
But, then again, if it were in relief, I could see
exactly what this would look like.

With the head

in relief, it would just look awesome.
think you could probably do that.

And I

I think you

guys could really make that really pop out.

You

know, but then my thinking is -UNIDENTIFIED SPEAKER:

You're talking

about obverse 6?
MR. SCARINCI:

Obverse 6.

I'm sorry.

Obverse 6.
UNIDENTIFIED SPEAKER:

Yes, obverse 6,

not reverse 6.
MR. SCARINCI:

Obverse 6 is what I'm

talking about, that head that just pops out.
UNIDENTIFIED SPEAKER:
MR. SCARINCI:
pops out.
that.

There you go.

Look at that.

I mean, it

You can do something really cool with

If it were in relief, you would make the

head in relief, it would be really nice.

But the

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problem, you know, you then encounter is, okay,
where do you pair that?

You know, certainly we

can't pair that with number 7.

You would probably

then have to switch over to number 1 and pair it
with number 1 or pair it with number 2, you know.
MS. LANNIN:

Is there any objection to

having it just be about children or do we have to
say anything about polio?
MS. WASTWEEK:
MS. LANNIN:
MS. WASTWEEK:

The statute -You know, I don't know.
The statute says past,

present, and future.
MS. LANNIN:
MR. SCARINCI:

Okay.
So, all of that being

said, you know, I'm pessimistic.

So I'm going to

go with what the liaisons want.
CHAIRPERSON MARKS:

Thank you, Donald.

Before we go on to Michael, we had a request for a
point of information.
MR. WEINMAN:
information.

Greg?
Yes, a real quick point of

First, to answer your question, the

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legislation states specifically "The design for
the coins minted under this act shall contain
motifs that represent the past, present, and
future of the March of Dimes and its role as
champion for all babies, such designs to be
consistent with traditions and heritage of the
March of Dimes."
One more other point of information I
just want to add and keeping in mind that artists
always have artistic license to interpret any way
they like, they are several designs that have
Jonas Salk on them.

The legislation does, in

fact, in the findings mention both Salk and Sabin
in the same name, in the same place:
Jonas Salk and Albert Sabin.

developed by

Again, the Salk and

Sabin polio vaccine was funded by the March of
Dimes and ended the polio epidemic in the United
States.

So do with that as you will, but it's -CHAIRPERSON MARKS:

The information in

the findings but not necessarily -MR. WEINMAN:

No.

There's nothing that

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requires -CHAIRPERSON MARKS:
MR. WEINMAN:

Right.

-- either/or both, neither

on the design.
MR. SCARINCI:

So going with Salk means

we screw Sabin of all time.
UNIDENTIFIED SPEAKER:
MR. WEINMAN:
MR. SCARINCI:

Right, right.

I didn't say that.
I said that.

CHAIRPERSON MARKS:

On that, we're going

DR. BUGEJA:

I want to speak

to Mike.
Okay.

mostly on this now and for in general.

One of the

things I wanted to mention is that there is always
a missed opportunity by the Mint artists when we
get a coin that could be a privy mark.

And when

you put the Roosevelt dime so large, you just are
repeating mottos.

You are repeating liberty.

are repeating "In God we trust."

You

If you treated

it as a privy mark, as we have done on some other
coins, it opens up a whole palette for you on what

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you can put on that obverse or reverse.
I want to go speak to just a few of
these things.

If you are going to have any design

with the 1946 Roosevelt dime in there, you're
going to have repeating a motto.

Just be careful

about that.
I don't like any of the dime obverses.
It's been such a long time since we've had a
I don't like double portrait jugate.

And number

15 is elegant that way.
While I agree with my esteemed colleague
about the Democrat Roosevelt, he also was a
disabled president.

And this actually makes his

contributions even greater than what we've ever
had.
Now, if you go with that, you're going
to have a hard time doing what Tom suggested
because reverse number 1 doesn't have March of
Dimes.

So you've got to be careful if you're

going to go with a double portrait that you're
going to get March of Dimes here somewhere because

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you could lose that.

And I really can't find

March of Dimes going with number 1.

So I am going

to speak against that.
On the other hand, I think a double
portrait, you're not going to get confused about
heads and tails.

Remember, this is a coin.

And I

don't like commemoratives in which tails is on the
obverse and you can only figure that out if you
know the legends and liberty and "In God we trust"
are on the obverse.
So you get a strong double portrait here
that I think is marvelous, which opens up all
different types of possibilities, then, on the
reverse.
7.

My favorite would be number 4 or number

They both have March of Dimes in there, "a

healthier future for all children."
what they want.

They capture

March of Dimes is missing, and

there is not really a place for it with the others
that are there.
But the final thing I want to say in
terms of selling out this mintage, it is

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everybody's goal, but particularly for the March
of Dimes, to sell out this particular coin.

I

have a marketing suggestion that is not actually
included in here.

One of the most boring series

for collectors is Roosevelt dollars because we
create so many of them.

All right?

It would be

interesting as a marketing venture in a coin that
everybody can afford, unlike what you have done
with the silver eagles and the gold eagles, the
1995 silver eagles and so forth, to have a silver
dime in there that only collectors can get through
ordering by the Mint, that suddenly you're going
to have everybody in Coin World ordering from the
Mint to get that.

And then that dime could also

be sent in to a grading company as a first release
or a first strike.

And then we get the dime

without reprinting the dime and all the logo
things there.

But mostly it will rekindle

collector interest to have a 50,000-top silver
dime that you could only get through the Mint on
affordable commemorative.

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That's all I have to say.
CHAIRPERSON MARKS:

Thank you, Mike.

Okay.
MR. URAM:

Gary, can I make one comment?

CHAIRPERSON MARKS:
MR. URAM:

One follow-up?

One follow-up.

what you're saying on number 1.
great choices.

I agree with

And 1 and 7 are

My question would be, would

reverse 5 -- if you could put reverse number 5 up?
And my question would be, Don, could we just take
that "march of dimmest" there and substitute it in
reverse number 1, put that in where this wording
is here in number 1, because then you'd have it
covered right there?
MS. STEVENS-SOLLMAN:
MR. SCARINCI:

Oh.

Yes.

You mean substitute

"march of dimes" for -MR. URAM:

Yes, and "a healthier

future," that whole logo -MR. SCARINCI:
MR. URAM:

Sure.

-- like we have and pop it

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into the center.
MR. SCARINCI:

Yes.

I can go for that

one.
MS. LANNIN:

Sure.

MS. WASTWEEK:

That would be nice.

MR. SCARINCI:

I would go for that.

MS. LANNIN:

Yes.

CHAIRPERSON MARKS:

Good idea.
We have little time.

Donald?
MR. SCARINCI:

Can I make an appeal?

I

think, you know, picking up on what was just said,
if we look at it this way and try to boost up the
surcharge, okay, I think your best shot of a coin
that will work like this would be 15 obverse.

So

you've got the portrait thing going on, the 7
reverse.

And then you package it with a reverse-

proof dime or something like that
MR. JANSEN:
MR. SCARINCI:

That's right.
-- to boost the sales so

that they get their surcharge and you make money,
too, because they don't get the money on the

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special strike dime.
everybody.

You do.

So it benefits

And in order to do that, if we're

going to do that, then you do want the Roosevelt
portrait.

And so going with 15 as an obverse

would make a lot of sense.
MR. JANSEN:

It would.

MR. SCARINCI:

So I'm thinking 15

obverse, 7 reverse accomplishes what you need,
special strike dime set, done.
CHAIRPERSON MARKS:
MR. URAM:

Okay.

In consideration, too, that 1

or 7 would change on the logo there.
MR. SCARINCI:

Whatever you want to do.

CHAIRPERSON MARKS:

Okay.

I'll ask each

of the members to fill out their ballots for the
March of Dimes.

Pass those in to Erik.

REVIEW AND DISCUSS CANDIDATE DESIGNS FOR THE
CODE TALKERS RECOGNITION
CONGRESSIONAL MEDALS PROGRAM (CROW TRIBE)
CHAIRPERSON MARKS:
have one more program.

And, meanwhile, we

And that would be the

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Congressional Gold Medal for the Crow Tribe Code
Talkers.

I'll ask April to give us her report

now.
MS. STAFFORD:

Yes, absolutely.

It's

Public Law 110-420 that authorizes the Secretary
of the Treasury to strike congressional medals to
recognize the dedication and valor of Native
American Code Talkers to the United States armed
services during World War I and World War II.
Unique Gold Medals will be struck for each Native
American tribe that had a member who served as a
Code Talker.

Also, the duplicate medals will be

presented to the specific Code Talkers or their
next of kin.

And, of course, bronze duplicates

will be struck and made available for sale to the
public.
Regarding inscriptions, there are no
required inscriptions, but for design consistency
across the program, the obverse inscriptions have
included the tribe's name; Code Talkers; and, if
desired, a language unique to the tribe while the

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reverse inscriptions have included World War I
and/or II, as applicable to the war served; and
"Act of Congress 2008."
For today's meeting, we will review
three obverse and two reverse designs for the Crow
Tribe.

I am going to go through the candidate

designs and then ask our guest, Paul Little Light,
to address the Committee.
obverse designs.

First we'll cover the

Obverses 1, 2, and 3 depict

variations of the Army Air Corps wings.
inscribed "CROW CODE TALKERS."

They are

Here is obverse 1.

And I would like to note that this is the tribe's
preferred design.

Obverse 2 and 3.

For the reverses, they depict elements
of the Crow Tribe seal, which includes the sun;
sun rays; mountain peaks; two meandering stripes,
representing rivers on the Crow reservation;
teepee; war bonnets; a sweat lodge, tobacco
bundles, and a peace pipe.

Inscriptions include

"ACT OF CONGRESS 2008" and "WORLD WAR II."
we have reverse 1 and reverse -- I'm sorry.

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back to reverse 1, please.

Thank you.

This is

the Crow Tribe's preferred reverse and reverse 2.
And now if I could introduce Paul Little
Light?

Thank you so much for being with us, the

Crow Tribe's representative, to address the
Committee.

Thank you.

And thank you for your

patience.
MR. LITTLE LIGHT:

That is fine.

I went

and took a nap and came back.
(Laughter.)
MR. LITTLE LIGHT:
you guys do.

It is important what

I realize the time that it takes to

get the process done.

It is very important.

But

I just wanted to thank you for inviting me.
And if we can go back to the first one?
It's reverse 1.

Yes.

the simplicity of it.
cartoonish.

We like that one because of
It didn't get too

And the Code Talkers themselves

preferred that one.
remember the most.

It's the one that they
And so, with their input,

that's the one that they wanted me to select.

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And so that is kind of what we did
there.

The other one seemed a little bit too

flamboyant, I guess.

And the other one was too

Captain America, the next one right there.
just decided to keep it simple.

So we

They don't really

feel like heroes or they're not jumping up and
down like I did.

So they just wanted to keep it

simple.
As far as the Crow Tribe, the flag -- I
think it's reverse.
obverse.

I get confused:

reverse,

We like this one just because of the

sweat lodge.

It's more symbolic of the ribs of

the buffalo and then the tobacco crop, which is
central to the Crow people.

This is where we come

from, is a tobacco society.

And so they thought

it was more real and, of course, the teepee at the
base of the sun.

All Crow teepees face the East.

And then the rays put on top are in our system.
And the peace pipe, of course, is symbolic to all
tribes as far as honor and leadership.

So that's

the one that we preferred right there.

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I really didn't know what to tell you
guys, just to come by and tell you that we
appreciate you guys doing this and inviting me to
come and represent the tribe.
MR. MORAN:

Are there Code Talkers in

your tribe still alive?
MR. LITTLE LIGHT:

I believe there is

one, one that is still alive.
MR. MORAN:

He's going to get a Gold

Medal instead of the -MR. LITTLE LIGHT:
MR. MORAN:

I believe so.

Good for him.

MR. LITTLE LIGHT:

We just had one pass

away recently in the past couple of months.

As

you know, they're passing away at a fast rate.
It's a great story behind these poor gentlemen.
Two of them were brothers:
Hank Old Coyote.
was in the air.

Barney Old Coyote and

One was on the ground, and one
And they knew each other, and

they were talking and had another gentleman named
Cyril Not Afraid and Sampson Birdinground.

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they all spoke the same language.

And it's a good

story, especially to hear it from them.
That's all I got.
(Chorus of "Thank you.")
CHAIRPERSON MARKS:
try something new.

Okay.

I'm going to

And you guys might not support

this, but to honor the tribe's preferences, I'm
going to start off this process by simply making a
motion.

And if members wish to still speak to

this program, I would suggest that you speak to
the motion.

But my motion would be to recommend

obverse 1 and reverse 1 for the Crow Code Talker.
So do I have a second?
MR. SCARINCI:

Second.

CHAIRPERSON MARKS:
the second on this one.
seconded.

I'll take Donald for

So it's been moved and

Is there some discussion?
MR. MORAN:

Does the bar open early?

Does the bar open early?
CHAIRPERSON MARKS:

Is there a

discussion about this motion?

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(No audible response.)
CHAIRPERSON MARKS:
any.

Okay.

So we'll move to the question.

I don't hear
All those in

favor please raise your hand.
(Show of hands.)
CHAIRPERSON MARKS:
unanimous vote.

It looks like a

Our recommendation is set.

MR. MORAN:

My flippancy aside, it's

been a long day, but you made good choices.
DR. BUGEJA:

Mr. Chairman, may I just

say to you thank you for all you have done in
facilitating this meeting.

It was a difficult

meeting with lots of choices.

Without your

leadership, we wouldn't have come to this
successful conclusion.

I would like that on the

record.
(Applause.)
CHAIRPERSON MARKS:
business left.
of Dimes.

We do have a bit of

We have the report back on March

So I'm sorry.

until we have some scores.

We're going to recess
We'll come back into

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session at that moment.

We'll come back into

session at that moment, report the scores, and
then we will adjourn the meeting for the day.

I'm

going to ask people to stay in the room if you can
because as soon as we get the results, I want to
report those and get done so we can vacate out of
this room.

So we are recessed momentarily.

(Off the record.)
(On the record.)
CHAIRPERSON MARKS:

So on the obverse,

we'll do this as quickly as possible.
and 2 had been eliminated.

Design 3 received 2.

Designs 4 and 5 had been eliminated.
received 2 votes.

I don't want to go too

Design 9 received 3 votes.

been eliminated.

Ten had

Design 11 had received 5 votes.

Design 12 received 7 votes.
five votes.

Design 6

Design 7 was eliminated.

Design 8 received zero.
fast here.

Designs 1

Thirteen acquired

Fourteen is our selected or

recommended design at 19.

Close on its heels is

15, which received 18 votes.

And the balance of

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the obverse designs at 16 through 22 had been
eliminated.

So our recommended obverse is design

number 14, which is on the screen.
And so, then, let's move to the reverse.
Design number 1 received 14, the second highest
for the reverses.

Design number 2 received one.

Design 3 was eliminated.
votes.

Design 4 received 5

Designs 5 and 6 had been eliminated.

Design 7 is our recommended design with 16.
MR. SCARINCI:

Yes.

CHAIRPERSON MARKS:
had been eliminated.

Design 8, 9, and 10

Design 11 received zero.

Designs 12, 13, 14, and 15 had all been
eliminated.

Design 16 received 4 votes.

designs 17 and 18 were eliminated.

And

So at this

point, we have the pairing of obverse 14 and
reverse 7.
DR. BUGEJA:

Can we take a quick look at

it?
CHAIRPERSON MARKS:
DR. BUGEJA:

Excuse me?

Can we take a quick look at

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it?

Just checking.

Just checking.

CHAIRPERSON MARKS:
MS. STAFFORD:

Okay.

Sorry.

The inscription

on the obverse currently says "VICTORY OVER
POLIO," but I believe it was our liaison that
requested that that actually be changed to "FIRST
POLIO VACCINE."

Kristy, is that correct?

MS. LYSIK:

The first safe and effective

vaccine for polio.
UNIDENTIFIED SPEAKER:

All right.

I

make a motion that that occur.
UNIDENTIFIED SPEAKER:
better.

I think that's

That's great.
UNIDENTIFIED SPEAKER:

Why don't we

leave it up to the Mint to address that?
CHAIRPERSON MARKS:

Would it be

beneficial for a motion or -MS. STAFFORD:

I just wanted to note it

in case -CHAIRPERSON MARKS:

Could it be

understood on the record that there is a consensus

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among the Committee members to make that change?
(No audible response.)
CHAIRPERSON MARKS:
stand pat.

Okay.

I think we

Okay.

You know what?

A recognition I need to

give here, and that is that there is another
person on this Committee who had to work extra
hard today.
left.

And that is my friend Erik to my

You all gave me a round of applause, but I

really think I had the easy part here.

The hard

part is trying to do all of this tally and get all
of the scores together in a timely fashion and
still participate as a member.

So that's tough.

I know I tried to do it for a while and also run
the meeting.

That didn't work.

And so Erik has just been fabulous, not
just this meeting but several meetings going back.
So I'm going to give him a round of applause for
that.
(Applause.)
MR. JANSEN:

It is absolutely shocking

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the motions you made today.
CHAIRPERSON MARKS:

Okay.

So now stay

put after I adjourn because we need to discuss
some things off the record.

But, for the record,

I want to note that, given the challenges we had
today, we are actually getting out of here only
three minutes over time.
MR. URAM:

Gary, can I just go back to

-(Laughter.)
MR. URAM:

Since that vote was so close

on the obverse, I'd like to just have a revote on
it because I really think that it is more of a
homerun with the -- you said it yourself -- with
pairing it up with the obverse and the reverse of
number 15 with number 7.
CHAIRPERSON MARKS:
MR. URAM:
DR. BUGEJA:
MR. URAM:

I didn't say that.

Somebody did.
I did.
I just think that you have a

better chance of a sellout with that image than

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the other.

The other is good, but I am just

saying.
CHAIRPERSON MARKS:
MR. URAM:

Is that a motion?

Yes.

UNIDENTIFIED SPEAKER:

I'll second it.

UNIDENTIFIED SPEAKER:

What is it?

UNIDENTIFIED SPEAKER:

Fifteen replacers

14.
CHAIRPERSON MARKS:

Did we go off?

Can

we still bring that up?
REPORTER:

We are on the record.

CHAIRPERSON MARKS:

We're still on the

record.
REPORTER:

You haven't adjourned.

CHAIRPERSON MARKS:

I thought I was

going to.
(Simultaneous conversation.)
DR. BUGEJA:

The motion, as I understand

it, Tom, is if we get a majority voting for 15,
that replaces the first one.

Am I correct on

that?

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MR. URAM:

Right.

DR. BUGEJA:
MR. URAM:

I second that one.
I just think it teams up

better, but -DR. BUGEJA:
sell more.

It sure does.

You'll sell more for this.

MS. WASTWEEK:
it's more artistic.
design.

And you'll

I still like 14.

I think

And it's a really attractive

It has a great composition.

It's exactly

what we have been asking for from the artists over
and over again to give us something unique and
artistic.

And if we go with a just a simple

portrait, that is going to send a mixed message to
the artist.

We tell them we want one thing, but

we choose another.
CHAIRPERSON MARKS:
Heidi.

Yes.

I agree with

This is a more traditional approach.

It

also opens up the idea of you have a two-headed
coin because the reverse almost carries that idea
of the mother.
DR. BUGEJA:

I have big problems --

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CHAIRPERSON MARKS:

I personally am

going to stand pat on obverse 14, but we're going
to vote this out.
DR. BUGEJA:
14.

I have big problems with

You repeat "In God we trust."

repeating "liberty."

You are

And then you are repeating

one, two, three, four, five.

That will be a Mint

record for repeating moments.
MR. URAM:

And heads.

DR. BUGEJA:
MS. WASTWEEK:

Everything will be -So it will be a collector

item for the -(Laughter.)
UNIDENTIFIED SPEAKER:
question.

Call the question.
CHAIRPERSON MARKS:

question.

Call the

Okay.

Calling the

All those in favor of supporting

obverse 15, instead of 14, raise your hand.
(Show of hands.)
CHAIRPERSON MARKS:
MR. JANSEN:

Six opposed.

Wait, wait, wait.

Wait.

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DR. BUGEJA:

That's for Tom's motion;

MR. JANSEN:

Six ayes.

right?
And how many

nays?
CHAIRPERSON MARKS:
Four nays.

Motion carries.

Nays?

Like four.

So we've switched.

For better or worse, we have switched.
MR. SCARINCI:

While we are still in the

meeting, could I just ask a question?
discuss?

Should we

I mean, for going forward, I mean, it's

kind of a rule.

I mean, we've never done this

before, you know, like we voted.

I'm happy.

I

supposed -CHAIRPERSON MARKS:

We actually have

done this many times.
MR. SCARINCI:

Where we vote and then

score and then vote?
CHAIRPERSON MARKS:

When it's been

close, yes.
DR. BUGEJA:
MR. SCARINCI:

Democracy is troublesome.
When it's been close?

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CHAIRPERSON MARKS:
MR. SCARINCI:

Okay.

Yes.
Okay if everybody

is okay with doing it.
CHAIRPERSON MARKS:
to brag again.

Okay.

Now I'm going

We're only seven minutes over our

slated time to adjourn.
(Applause.)
CHAIRPERSON MARKS:
adjourned.

And we are

Thank you all.
(Whereupon, at 5:37 p.m., the Citizens
Coinage Advisory Committee public
meeting was concluded.)

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CERTIFICATE OF COURT REPORTER
I, MICHAEL MCCANN, the Court Reporter before
whom the foregoing proceeding was taken, do
hereby certify that the proceeding was recorded
by me; that the proceeding was thereafter
reduced to typewriting under my direction; that
said transcript is a true and accurate record
of the proceeding; that I am neither related to
nor employed by any of the parties to this
proceeding; and, further, that I have no
financial interest in this proceeding.

________________________
MICHAEL MCCANN
Digital Court Reporter

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CERTIFICATE OF TRANSCRIPTION
I, SARAH VEACH, hereby certify that I am not
the Court Reporter who reported the following
proceeding and that I have typed the transcript of
this proceeding using the Court Reporter's notes
and recordings.

The foregoing/attached transcript

is a true, correct, and complete transcription of
said proceeding.

_______________

________________________

Date

SARAH VEACH
Transcriptionist

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